


Zootopia: So You Want To Be a Cop (script format)

by wrgarou



Series: Zootopia Between the Times [1]
Category: Zootopia (2016)
Genre: Angst, Angst with a Happy Ending, F/M, Fluff, Fluff and Angst, Humor, Interspecies Awkwardness, Interspecies Relationship(s), Police Procedural, Screenplay/Script Format, Speciesism, ZPD - Freeform
Language: English
Status: Completed
Published: 2021-02-12
Updated: 2021-02-20
Packaged: 2021-03-18 10:07:19
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 14
Words: 52,161
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/29366754
Author URL: https://archiveofourown.org/users/wrgarou/pseuds/wrgarou
Summary: This work covers the time between the resolution of the Bellwether caper and the commencement of the next graduating class of the ZPD Police Academy in which Nick Wilde graduates.  This period is many months, and was not covered in the original film.This work is in 12 episodes (or chapters), formatted as a pseudo-screenplay with focus on dialogue and action.  This format necessarily lends itself to being illustrated, which is the ultimate hope of the author.This work is tagged as having 'f/m' relations, and being for a 'teen plus' audience.  Having put that forth, this work is mostly rated 'G' with a few moments of 'PG-13' level violence and 'adult situations.'  No characters reveal more than their underwear, and only in a non-intimate manner in those instances.
Relationships: Judy Hopps/Nick Wilde
Series: Zootopia Between the Times [1]
Series URL: https://archiveofourown.org/series/2157180
Comments: 25
Kudos: 17
Collections: Zootopia





	1. preface: an explanation of the pseudo-screenplay format

**Author's Note:**

> This work is presented as a script, for a few reasons:
> 
> 1) I'm a 'visual learner,' and I have discovered that I can better convey a story by directly presenting the words and actions of the characters. This isn't to say that I don't write prose, but there is a bit of a language barrier. Not that I don't understand English -- actually, I'm fluent (or at least passable) in a few languages, but I find it difficult to present creative works in 'novel' format.
> 
> 2) I've laid this out with the hope (perhaps only a dream) that this may someday be illustrated. If you're an illustrator, please let me know.
> 
> 3) If I did choose to present this as a novel, I feel that it would be laden with overly detailed scene presentation, thick and excessive dialogue, and far too much minutiae that would all turn out to be a dense, plodding, and nearly unreadable burden of a story. I do write well, but I mostly write technical documentation.
> 
> I also think that presenting this as a script would make this a much easier read, as the actions and dialogue are directly presented as-said and as-done. Of course the background of what's going on between the characters' ears would be lacking, so I choose to leave that to the imagination of the reader. I present the characters directly; you the reader can judge and 'profile' them as you see fit.
> 
> \-----
> 
> addendum February 22 2021: I have received some feedback from readers (and would-be readers) who expressed that this format is a bit hard on the eyes for those who prefer plain text. The 'novel' format re-work is in progress; see my 'works' index for more.
> 
> \-----

**Summary for the Chapter:**

> This first post describes the formatting of this work, which is similar to that of a screenplay or script. Snippets of dialogue and action from this work are used as examples.
> 
> This isn't the first chapter; it is a preface. The story itself begins with chapter 3 of this AO3 index.

> Zootopia: Between the Times [series number]  
>  This Is the Series Title [chapter number]  
>  the Chapter Title Goes Here

The title and episode number are centered on the page. The preface and cast are in sans-serif. The cast is listed in order of appearance.

> \-----
> 
> [episode 4 act 1]  
>  [bookmark 4-1-1]  
>  [// Thursday]
> 
> INT. Judy's apartment, middle of the night: the moonlight casts some light into the apartment. JUDY is curled on the bed, asleep, still wearing her clothes from the end of episode 3. NICK is sleeping, curled on the floor.
> 
> \-----

Episode and act notation, and other timeline indicators, are in [square brackets.] Scene direction and action are in fixed width from the left edge of the margin. Separation and containment of frames is indicated by five centered dashes or a similar short line.

'Bookmarks' are given to reference a particular frame or series of frames. Single-line notes referring to a timeline are contained by [// two slashes within square brackets] and are not to be included in the artwork.

> \-----
> 
> [caption: noon]
> 
> JUDY (terrified):  
>  {eep}
> 
> NICK (sitting upright):  
>  What!
> 
> \-----

Captions are indicated by [square brackets]. Inclusion of captions may not be necessary if the scene transition or location can be shown directly by the art.

> \-----
> 
> JUDY (shouting at the top of her lungs):  
>  Aaagh you're all **IDIOTS**
> 
> \-----

Dialogue is from the first tab-stop. Descriptions of the character's expression or action may be included (in parentheses). Dialogue that is spoken softly but not sotto voce, or is quiet or muffled, may be indicated by a smaller font size. Dialogue that is shouted may be indicated by a large and/or bold font. Dialogue with emphasis may be underlined.

In plain-text versions of this work:

whispered or sotto-voce dialogue may be between {curly brackets}.

shouted or otherwise loud dialogue may be between *a pair of asterisks!*

> \-----
> 
> SCHWARZWOLF:  
>  How was training?
> 
> JUDY (exhausted expression):  
>  Rougher than I expected.
> 
> SCHWARZWOLF:  
>  She ripped you a new one?
> 
> JUDY:  
>  Don't ask.
> 
> \-----

Back-and-forth dialogue between speakers have their speech bubbles joined by ligatures.

> \-----
> 
> JUDY answers her phone in video-conference mode, holding it before her.
> 
> JUDY (with a forced smile):  
>  Hi mom, dad. 
> 
> PHONE:  
>  Hey there Dude! How's it going?  
>  \--  
>  Oh I can't remember when we were last in the city. Can you, Stu? 
> 
> \-----

Dialogue involving two separate voices from the same direction, such as a party line call on a phone, is shown by separating the two voices with two dashes at the second tab-stop. This is to be illustrated by two separate and sequential speech bubbles from the same source or direction.

> \-----
> 
> /* OPTIONAL FRAME BELOW:
> 
> DUTCH ANGLE, FOCUS ON JUDY'S face as seen by the camera: her right hand is clenched into a fist, the middle finger deep into one of her nostrils. Her eyes are crossed, her tongue in a blep that would otherwise be very cute. BOGO is seen in the distance, arms crossed, an expression of furious disapproval.
> 
> */ END OPTIONAL FRAME
> 
> \-----

Optional frames, to be included at the discretion of the author and artist, are indicated between 

/* SLASHES AND ASTERISKS SIMILAR TO 

SCENE: setting, actions and other who-what-wheres.

CHARACTER (description of action, appearance or mood):  
Dialogue, thus and so forth.

*/ MULTIPLE LINE COMMENT TEXT IN CODE 

and may include more than one frame.

> \-----
> 
> BOGO to himself:   
>  I will not have another misfit turning our Department upside down.
> 
> If I didn't know better, I'd think Hopps had something to do with this.
> 
> \-----

Lines of dialogue separated by a line break are to be separated by a line break within the same speech bubble.

> \-----
> 
> NICK stares directly at JUDY as he licks his chopsticks.
> 
> NICK (grinning, almost leering):  
>  You're on, Fluff. Lunch will be on you soon enough.
> 
> [// in Asian cultures, licking one's chopsticks in direct sight of another diner is considered to be an overtly lascivious gesture.]
> 
> \-----

Notes may be included for the purpose of giving greater detail to a scene or dialogue. These notes are written in [// square brackets preceded by two slashes] and are not to be included in the artwork.

> \-----
> 
> JUDY looks at her dish. 
> 
> JUDY:  
>  We didn't cover a lot of that in high school. 
> 
> NICK nods in approval. 
> 
> NICK:  
>  But you are good at math.
> 
> JUDY:  
>  Oh that comes naturally.
> 
> \-----

Multiple lines of action or direction may be included in the same frame, for the purpose of fully describing the flow of action and dialogue. However, they are still within the same frame and are to be illustrated as occurring at the same time.

> \-----
> 
> SCHWARZWOLF:  
>  Next time you'll get a citation!
> 
> (narrative):  
>  The reality of police work is that it's mostly dull. These days I'm assigned to patrol Buxtown with Corporal Schwarzwolf.
> 
> \-----

Expositional narratives are presented to the reader as isolated text not spoken by any character, unless the direction of the origin is indicated.

[// script format 2021 02 11 wrg]


	2. index: character and milieu analysis, glossary

**Summary for the Chapter:**

> This entry gives detailed description of the characters, the locations, and much of the overall milieu of this Zootopia-related work. At the end is a short glossary of terms that may be particular to this series.
> 
> This may appear to be an excessive collection of irrelevant trivia or a repetition of what the reader already knows, but it does clarify a few important issues (for example, why rabbits are so picky about tea). This section isn't a pre-requisite to the story, but it may become a helpful reference as the reader goes deeper into this world.

**Notes for the Chapter:**

> These characters may be presented in a future work wherein the minute details become relevant.

Zootopia: Between the Times  
character and milieu analysis, glossary

quick links:  
  
locations  
  
characters:  
primary protagonists  
ZPD  
other  
  
glossary

\-----

LOCATIONS: in order of distance from Zootopia City Hall:

All Saints Fain: a large domed building, it looks a lot like a Late Gothic cathedral without actually looking too much like a Late Gothic cathedral.

name etymology: a fain is a place of worship. The word is archaic and was used mostly in the British Isles.

\-----

Buxtown: an area inhabited mostly by cervids and related ungulates. 

\-----

Watering Hole Park: in Savanna Plaza at the heart of Savanna Central, this is a representation the legendary Watering Hole where the first covenant between 'predators' and 'prey' was agreed upon thousands of years ago. At the center of the park is a large fountain with many spouts around the center. 

\-----

Judy's apartment (Otterdam, a few blocks away from the Loop's Hill St station): the same apartment as depicted in the first movie, but a bit more developed with pictures of family on the walls and a laptop on the table. A floor lamp adds some light to the room, but the room is still very sparse.

The Otterdam area of Savanna Central is in the Uptown West precinct.

name etiology: Rotterdam, a city in Holland.

\-----

Nick's apartment (uptown two blocks away from the Loop's Pack St station): Nick's place is a studio apartment, larger than Judy's. There's a small kitchen area, a futon, a coffee table in front of the futon, an end table next to the futon, a TV / entertainment console across the room from the coffee table, a wardrobe against a wall next to the window. The apartment is spare but orderly, with minimal clutter. A single picture of his mother is on the wall next to the window. 

The exterior view of the building is similar to the Grand Pangolin Arms building where Judy lives, only with Nick's car parked outside. Nick drives an aged and slightly beaten-up red 2-door convertible.

\-----

the Teekeller: a tea house in Little Hasenburg, an area mostly inhabited by lagomorphs and similarly sized mammals. Little Hasenburg is centered around the Walnut Street Z Loop station. 

name etymology: German, 'tea cellar.' In Germany, some local houses of government have a small restaurant or café in the basement, a Ratskeller, usually accessible from street level. 'Hasenburg' is approximately 'Rabbitville' in German, from 'rabbit fort,' as some villages were fortified.

relevant to storyline: for some reason, rabbits are very particular about tea. Store-bought pekoe in a bag is only barely acceptable if better tea can't be had.

\-----

the Anvil: a bar and music venue in the 'Bohemian section' of Little Hasenburg, this bar hosts many up-and-coming Metal bands, and their fanbase. 

Outside the club, next to the front door is a mural of a stylized anvil and hammer, and the name of the bar above it. Ofc. Redfern (Zoo-4 Uptown West) works nights at the Anvil, and his presence is almost always associated with this bar. In scenes occurring outside the Anvil, his inclusion in the frame indicates the location, if including the mural isn't practical within that frame.

\----- 

the Palm Hotel (also called the Oasis Hotel in some references): in Sahara Square, at the eastern end of the Oasis Loop, this is the famous palm-shaped tower in the heart of the district. A luxury hotel with a casino and restaurants, this is the central attraction of the district and a global tourist destination. It is also the only location in Sahara Square that serves alcohol. 

\-----

ZPD 13th Precinct (the Desert): close to the center of Sahara Square, a single-level pale beige stone building with the ZPD logo and shield, and the number '13' over the doorway. The doorway to the front entrance is a broad arch with double doors. The roof is slightly domed, with the recent addition of solar panels. There is a single tower on one side of the building, with radio antennae and a siren horn on the tower roof, and a catwalk around the tower. The parking lot / motor pool is to one side. 

artistic rendering: it is absolutely essential that this building not look like a mosque, the tower doesn't even resemble a minaret.

\-----

the Brass Rose (Sahara Square, near the Olive Street station): a limited-menu bistro (minus the liquor, of course) with a Middle Eastern atmosphere. There is a room in the back for small, not-too-loud parties. From French 'brasserie,' although this place is not at all 'white linen.'

\-----

Zootopia Memorial Park (Meadowlands, northeast of the Rainforest District): a large, well-maintained cemetery which includes Heroes' Field, the resting place of uniformed civil servants.

\-----

Bunnyburrow: Judy's home town is an agrarian community. The culture is typically conservative, maintaining old traditions, beliefs and faith structures, and ancient prejudices.

The predominant rabbit culture is largely non-confrontational, trusting that social order will be maintained by the economic necessity of cooperation, with quiet tolerance of those who are different in any way as long as they cause no harm to the community. The belief structure of this particular rabbit society is loosely based on the Society of Friends without the Quaker theology. 

The borough employs one sheriff and three deputies, all of whom rarely have to do more than settle petty disputes through peaceful intervention. Four cops; they never needed more.

\----- back to the top

DRAMATIS PERSONAE: 

These descriptions contain an awful lot of detail, much of which isn't relevant to this work. As this project developed and at every pass was edited and edited far too many times, lots of things just developed into details that could have been useful in unedited timelines, but wound up being lost minutiae found only here. 

[c] canon character from the original film  
[c+] canon character with name expanded by the author  
[c1] character by Joe Carmagna, Zootopia Comics Collection  
[c2] character in Zootopia Crime Files, Hibernia Creations  
[c3] character designed by Disney but abandoned before production; name expanded by the author

all other characters, and canon character expansions, are entirely by Wil Rowan

  
Judy Hopps [c]: The portrayal of this character is the author's attempt to maintain the original personality as originally portrayed in the first film, while adding depth to the character that was not previously described in the canonical works.

Upon her becoming a cop in Zootopia, she quickly realizes that she's 'not in Kansas anymore.' While she is amazed by the city, she struggles to adapt. Working in a large police department and interacting with different species all present their own challenges. Overall, Judy is intelligent and brave, but also rather impulsive and callow.

As in the movie, Judy's face and body language is very expressive. 

artistic note: in the spirit of maintaining an applicable reflection of the canon works, it must be noted that 1) Judy's coat is brown agouti, not grey as some have depicted, and 2) Judy is flat-chested, but with noticeable pectoral muscle development. The armored vest, with favorable lighting, makes her look a tiny bit stacked. Having put all that forth, yes she does have a rather prominent butt. There will be scenes where Judy isn't wearing the armored vest, so all of this must be considered by the artist.

With intense review of the movie, it is concluded that a lot of rabbits have big butts. (Refer to first movie, scenes at the Carrot Days Festival. Feel free to play it at maximum resolution on a big screen and watch it a zillion times in painfully slow motion.) This makes perfect sense, as jumping doesn't only involve the muscles of the thigh. Rabbits are good at jumping, along with being good and math and other things they evidently do a lot of.

anatomical annoyance: rabbits and other herbivores, as 'evolved' bipedal mammals, apparently have full dentition which includes teeth they simply don't need. In the custom of preserving the Disney anthro concept, of course they do in this work, with notable exceptions seen below.

\-----

Nick Wilde [c]: Nick is somewhat self-interested (as per the stereotype), mostly level-headed, and a bit crazy. He is also more emotionally mature than Judy, although his emotional framework is not necessarily congruent with that of others. more dental notes: as in the movie, Nick does have full vulpine dentition with noticeable canines but blunt carnassial molars, with diastema between the canines and premolars. 

There is some inconsistency in the first film: an apparent diastema between canines and premolars throughout the movie, until the museum scene 1:31:18 and 1:31:44, where his teeth appear to have no gaps. It appears that everyone in this movie has 'human-like' teeth and it is what it is.

Nick owns several Hawaiian shirts and ties; almost all of them clash with each other, if not everything else.

\----- back to the top

  
ZPD: in alphabetical order, by precinct:

Zootopia is a very large island, with five distinct 'climate districts.' The most populous climates, Savanna Central and the Rainforest District, are divided into four police precincts each. Tundratown, Sahara Square and the Meadowlands each have only one precinct. There is a 'central' division headquartered at 500 Crown Plaza in downtown Savanna Central. There are two detective divisions: First Detectives in Savanna Central and Northwest Detectives in the Rainforest District.

ZOO-1 Savanna Central

Det. Abraham 'Abe' Asad: lion, male, First Detectives. Usually wears a button-up shirt and a thin, loosely knotted tie, sleeves rolled up over his elbows. Asad is usually curt with uniformed officers, but never rude. His manner is flat; he is rarely expressive unless he is angry. He's a good detective, but not really personable and very private about his off-duty life.

name etymology: Arabic, 'lion.'

\-----

Chief Bogo [c]: male, African Cape Buffalo, Chief of Police and de facto Captain of Zoo-1. As voiced in the movie by Idris Elba, he is a British immigrant with some education. He will occasionally use British English phrasing and idioms.

name etymology: Bantu, 'buffalo.'

\-----

Ofc. Benjamin Clawhauser [c]: Clawhauser isn't smart at all, but he is highly sociable and 'emotionally intelligent.' 

/* In this work, he was in the field until he was injured on the job. */ ( 'No longer' || 'Not being' ) suited to field work, he is on permanent desk patrol, which has made him rather indolent.

\-----

Ofc. Delgato [c+]: lion, male. We'll give him the name Ray for the purpose of this story. Very personable.

name etiology: Spanish, 'of the (male) cat.' 'Ray' from Rey, 'king.' 

\-----

Ofc. Fangmeyer [c]: tiger.

\-----

Det. Virgil Jones: cougar, male, First Detectives. Usually wears a polo shirt and khaki slacks, no tie. Jones is younger than Asad, and much more enthusiastic and expressive.

name etiology: after Virgil Jones, a book series by Thomas Scott.

\----- 

Ofc. Layla Otieno: lion, female. She is comfortable in Zootopia, as she is also from a large and diverse metropolis. Having escaped the instability and poverty of her homeland, she is happy to be in a job that has a decent wage and pension, and has no particular ambition to be promoted beyond beat cop. Layla recognizes Judy as not only another woman working in a male-dominated field, but also as a cultural transplant in an alien environment; that is the foundation of their friendship.

artistic rendering: female lion of average height and build, slightly wider hips than the average felid, one small gold earring in each ear.

name etiology: common names in Kenya.

\-----

Ofc. Rhinowitz [c]: rhino, male. As portrayed, hard as nails and completely humorless.

\-----

Cpl. Tomas 'Tom' Schwarzwolf: timber wolf, male, rescheduled from second shift. Schwarzwald has been told many times that he's too smart to be a beat cop, and he knows it. His ambition is to become a detective, and he is splitting time between patrol supervision and First Detectives.

He is rather rigid, referring to other cops by their surnames even when off duty. Unlike the other wolves in Zoo-1, he wears full uniform. His manner is usually direct, sometimes blunt. While he is not at all biased against anyone based on their species, he is aware that such biases exist.

artistic rendering: male wolf, grey framing a white muzzle, white 'eyebrow' patches, similar to a Husky without being too symmetrical or 'domesticated.' One 'notch' scar in his left ear, a hairless linear scar above and below his left eye. Grey Tungsten ring on the middle digit of his left hand.

name etiology: German, Schwarzwald, 'Black 'Forest,' a region in southwest Germany. You will notice that many of the wolf characters are of German ancestry. That is a particular invention of the author, and is personally relevant to his avatar and heritage.

\-----

Ofc. Snarlov [c]: polar bear.

\-----

Ofc. Wolford [c]: timber wolf (dark phase), male. As in the first movie, Wolford is never in uniform. He either wears a ZPD t-shirt, a costume (as in the first movie @ 1:35) or plain clothes.

\-----

ZOO-2 Savanna Central Port Authority

Ofc. Browning: brown bear, male. He is a one-off character in this work, with almost no character development beyond what is inferred in episode 2.

\-----

ZOO-4 Savanna Central Uptown West

Ofc. Jay 'Red' Redfern: American bison, male. He has a night job bouncing at the Anvil to supplement his income. When working at the Anvil, he wears a black t-shirt, vest, and loose pants.

artistic rendering: typical bison, although not as shaggy. His roan red coat is kept groomed short and straight. He works out and is heavily muscled.

ancestry: Native Bison.

\-----

ZOO-5 Rainforest District (the Jungle)

Det. Felix Cuzco: puma, male, Northwest Detectives. 

name etiology: Cuzco is an ancient city in Peru that according to Inca legend, is laid out in the shape of a giant puma.

\-----

ZOO-13 Sahara Square (the Desert)

Cpt. Basil Abnawa: black jackal, male, captain of Zoo-13. He is a stern leader and has only the highest expectations of his squad, whom he calls the 'pack.' His sense of humor is often cruel or mocking, and he is almost physically incapable of smiling. His manner of speaking is a bit florid but always in absolute sincerity. His emotional expression is seriously repressed; he definitely has psychological 'baggage.' He is an immigrant from Arabia and it shows.

/* trivia:

Abnawa is very serious about coffee, as if it's his other religion.

He doesn't ever drink alcohol and he avoids social gatherings.

He is college educated, and he originally wanted to be a veterinarian. He was an EMT in Arabia, and many of his patients (who were delirious or close to death) mistook Abnawa for Anubis, the deity who ushers souls to the afterworld. This poor reception by far too many of those he wished to save did not encourage him to pursue a medical career, as he imagined his rotations in emergency medicine and anesthesiology would be very distressing for all involved.

The multiple parallel scars on his forearms are felid scratches. In the Northern African and Middle Eastern cultures, felids believe that they will face Death nine times and defeat or evade Death eight of those times, hence the 'nine lives' of cats. The scratch wounds are from patients or arrestees who thought they were facing Anubis.

Regarding the scars, Abnawa has described them as evidence that the adage 'no good deed shall go unpunished' is indeed true.

He is aware of Nadine Mouchet's affection (see below) and is doing his best to ignore the issue.

trivia */

artistic rendering: tall, lean and angular, prominent canine teeth overhang his lower lip a bit. His fur is short and mottled dark grey all over (with the exception of his chest and interior surface of his forearms, which are nearly hairless), invoking the image of Anubis. He has several hairless scars on the outer surfaces of his forearms (parallel lines from felid scratches), no other scars anywhere else. His shirt is always open to the second button from the top. He wears a BDU pleated kilt instead of shorts.

name etiology: Arabic, 'jackal.'

\-----

Ofc. Jack Berger: golden jackal, male. A hardened desert native, a sharp cop, and a gentleman in every way (except when warranted). Jack is an immigrant from a former European colony state in the Middle East. He's obviously educated, and it's believed that he has military experience. He's open enough about some of his personal habits and is very forward, but he never discusses his past. 

artistic rendering: Jack is about as large as the average wolf, shorter and a bit stockier than Abnawa. His coat is more pale and uniform than the average golden jackal.

name etiology: Jack for jackal, 'Berger' is Dutch.

/* trivia:

Jack was a special agent of the Dutch foreign diplomatic service. He was very good at his job, but was discharged due to his personal proclivities. He's 'out' about his alignment in that sense, but absolutely does not want anyone aside from Abnawa and ZPD Labor Resources to know that he used to be a spy.

trivia */

\-----

Ofc. Marcus Coleman: American bison, male, clerical and transport.

name etiology: common American.

\-----

Ofc. Trevor Fleet: cheetah, male. Usually wears a white bandana under his hat.

name etiology: 'fast and nimble,' as cheetahs are.

\-----

Ofc. Daisy Lapahie: coyote, female. Her manner is kind and maternal, but she is just as capable as any other cop in the Desert. She is a Native Coyote from the southwest.

name etiology: Navajo.

\-----

Ofc. Nadine Mouchet: leopard, female. Her ancestors are from a former European colony state in the Middle East. She is relatively young, and is very outgoing and sociable.

/* trivia:

She has more than a crush on Cpt. Abnawa, and knows entirely too much about him. The root of her affection is unknown, but her crush is no secret to anyone in the 13th (since there are no secrets there). She doesn't dare to actually pursue anything with Abnawa, as the mere suspicion of doing so would be the undoing of both their careers.

trivia */

artistic rendering: lean and chiseled, relatively narrow hips for a female, almost always smiling. She wears a choker with three onyx beads, signifying the three times that she defeated or escaped from Death. 

name etiology: French, 'speckled.'

\-----

Ofc. Josephine 'Jo' Riverstone: coyote, female, first shift desk. Excellent multi-tasker, not much of a 'people person' beyond the necessary courtesies. A Native Coyote, tribe not specified.

artistic rendering: a bit heavyset.

\-----

Ofc. Dwayne Sturgis: hyena, male. Sturgis is the class clown, and is often accused of being a slacker or screw-up. In truth, he is as hardened as any other cop in the Desert. Listens to hip-hop, likes fast food but will eat anything. As written, he is a walking, talking ethnic stereotype in every possible (hopefully inoffensive) way, but nonetheless a solid cop.

name etiology: common African-American.

\----- 

Ofc. Leon Wilson: lion, male. Always keeps his mane cropped short. 

name etiology: 'Leon' for lion; surname is common American.

\-----

ZPD central personnel

Maj. Friedkin [c]: polar bear, female, chief of training. Friedkin's job often involves dealing with people who are physically able but emotionally unprepared for the job. For that reason, she flunks out or benches a lot of her students. Her current challenge is to direct a student who is overly passionate. 

\-----

Hurriet [c2] [mentioned; no appearance]: sloth, female, forensic scientist. Very diligent, but not very fast. Her current grad student intern is very efficient. 

\----- back to the top

other characters: in alphabetical order

Altair Altaha: dromedary camel, male, food cart operator. Well-mannered.

name etiology: Arabic, 'chef.'

\-----

Eric Coney: European rabbit, male, musician. Eric is talented, but not successful enough to make music his day job. Like many young men, he is eager for a hook-up but not interested in a relationship. His primary focus is his music. Eric is usually charming at first pass, but often short with words as he gets to know someone. He may be some kind of autistic: his social skills aren't wonderful, but he is a wizard with regard to music, maths, and any sort of technology.

artistic rendering: Eric is uniformly brown agouti all over, a shade slightly darker than the average European rabbit. He is slender but not skinny. His ears are very slightly peaked. Overall, he is very handsome, even beyond 'cute,' and he knows it. His smile is perfect, but it seems rehearsed or forced if you've seen it too often. Usually wears a Thorium t-shirt and dark grey cargo pants or jeans.

name etiology: a synonym for 'rabbit.'

\-----

Max Eisenberg: timber wolf, male, guitarist. Almost never smiles. His favorite color is infra-red. He puts hot sauce on everything, including breakfast cereal. He and Wacki have some sort of thing going on between them; nobody is quite sure what that something is. 

/* trivia:

Max and Wacki Terremoto have a playful love/hate game with Mike Turgenev and L.E. Eldridge, which frequently involves the casual usage of empty beer cans or bottles as ranged weapons. To date, all have avoided serious injury.

trivia */

artistic rendering: shortish muzzle, asymmetrical fur pattern, symmetrical (and intentional) notches in both ears.

name etiology: German, a mountain town in Hesse.

\-----

Lindsey Ellen 'L.E.' Eldridge: hare, female, bike courier. Born to the family of a wealthy agriculture magnate, she identifies not with the affluent gentry of suburbia, but with the counterculture of the city. She is rebellious, outspoken, and daring in all aspects. Despite her living on the wild side, her origin in the upper crust of society is seen in her manner of speaking and obvious level of education.

She is madly in love with Mike Turgenev and doesn't hide it at all. L.E. is not quick to anger, but she is not afraid of anyone. More to the point, she doesn't need Mike to defend her. She has a particular hatred for speciesists, as they are at odds with her affection, and will deliberately start a fight with them (being confident that she would easily win). 

She may be carrying numerous weapons at any time, or could just as well use a plastic spork to deadly effect. She has been seen with a tai chi group at the park; that's not the only group she trains with.

artistic rendering: lean with very well-defined but not bulky musculature, light cafe-au-lait brown agouti with distinctive wide, diffuse bands in darker brown. Her ears are narrow, sharply peaked, and longer than those of rabbits. 

She is significantly buck-toothed. Her front pairs of incisors are noticeably longer than the rest of the teeth, with the upper pair overlapping the lower pair. Her full-on closed mouth 'say cheese' smile will show what appear to be gaps between the front pair of incisors and the molars, with the incisors past the front pair, and the canines and premolars, being shorter and smaller than the rest of the dental arcade. Her molars are of normal size and shape. This is the author's attempt at resolving a pet peeve with lagomorph dentition as noted with Judy Hopps' description.

For the sake of consistency, this dental formula also applies to the other hares in this world, and is apparent in the male desert hare in episode 10.

She usually wears a sleeveless t-shirt or tank top, and loose long shorts. 

\----- 

Fabienne Growley [c]: Asian snow leopard, female, news anchor for ZNN.

\-----

Bonnie and Stu Hopps [c]: Bonnie is very much a 'traditional' wife-and-mother. She is much more conservative than Stu, and a world class worrier.

Stu is not necessarily biased against 'predators,' but he does believe that canids are potentially dangerous. This fear appears to have been dispelled in the first movie, but old beliefs perpetuated for generations have a tendency to remain in some way.

\-----

Violet Hopps [c1]: Judy's sister. In this work, Violet earned a degree in behavior and ethology (the veterinary equivalent of psychology) at Zoo U. Like Judy, she saw no vocation in Bunnyburrow. She now lives and works in Zootopia. She and Judy are close confidantes.

artistic rendering: as per the published canon, Violet is about the same height as Judy although not quite as wide in the hips, and a light grey agouti with no 'dipstick' pattern to her ears. She typically wears glasses, red half-lens frames. Usually dressed for the office in a blouse and skirt.

\-----

Mayor Leodore Lionheart [c] [mentioned; no appearance]: Between the end of the first movie (where he is seen in prison during the Gazelle concert) and the publication of Zootopia Comics Collection, Lionheart is reinstalled as Mayor, despite his admission of illegal imprisonment. Since this work is covering the period between Bellwether's downfall and Nick's graduation from the Academy - all of which happened before the Gazelle concert - it is presumed that Lionheart is still locked up and someone else (or perhaps nobody specific) is running the city.

\-----

Peter Moosebridge [c]: moose, male, ZNN news anchor.

\-----

Doug Ramses [c]: sheep, male, no distinguishing marks. Chemist, sniper, general-purpose villain. He's the only one of Bellwether's hired associates who didn't go down for her conspiracy; he kept appropriate distance and plausible deniability as Bellwether and Doug's henchmen were convicted. Doug is clearly smarter and more capable than even arch-villains such as Bellwether.

\-----

Jane Swinton [c3]: pig, female. Based on a character that was in the draft of the first movie (and abandoned, only to be recast as a prison warden), As a City Council member, she has an ambition to be mayor. She has campaigned for the office in past elections, and has lost with <5% of the vote each time. At this point in her career, she is not above using unethical means to aid her campaign.

Typically has a pitcher of mimosas with (or instead of) breakfast. Does not photograph well on either end of the camera. Not famous for her patience or sense of humor.

artistic rendering: curvy and almost heavy, wears designer clothing, frosted blonde 'Karen' haircut, usually looks like she wants to talk to your manager.

\-----

Joachim 'Wacki' Terremoto: black panther, male, drummer. Can play drums like an octopus wired to a MIDI controller. Usually grinning, clearly insane. He and Max have some sort of thing going on between them; nobody is quite sure what that something is. Wacki has unnaturally pointy teeth, probably as a result of dental work.

name etiology: Spanish, 'earthquake.'

\-----

Mikhail 'Mike' Turgenev: Bengal tiger, male, musician. As a larger-than-average tiger, Mike presents a fierce visage, and his association with the Metal community only adds to the semblance of ferocity. He is fully aware of that, and his warmth and humor serves as a disarming counterpoint to the outwardly savage impression he casts. With that noted, let it be known that Mike's sense of humor can be a bit bizarre, and it's entirely likely that he would be the only one thinking he's entertaining.

relevant to storyline: for some reason, tigers are not conspicuous consumers of tea. If you were trying a find a tiger, a tea shop would be the last place you'd look.

/* trivia:

Mike is fluent in the language of the Steppe People of central Asia and has a cultural affinity for the homeland of that culture. (If all this wasn't a work of anthro fiction, Mike's favorite band would be the Hu.)

trivia */

artistic rendering: larger-than-average male tiger, heavy dark striping around his eyes, although not excessive to seem outside the range of natural occurrence. Usually wears a black Thorium t-shirt and jeans.

name etiology: Russian, 'eccentric.'

\-----

Vance Vickers: North American mountain lion, male, predator supremacist and leader of a gang. 

name etiology: his name is a reference to Varg Vikernes, a notorious criminal in the Metal community. 

\-----

Duke Weaselton [c]: weasel, male, crook. As depicted in the first film, he is completely crooked and seems to know every criminal in town. His primary motivator is money. For some reason, he is not in prison.

\-----

GLOSSARY:

cannibal: slang for 'predator supremacist,' invoking the memory that the War against the predator separatist uprising became universally supported against the predator armies on the mere rumor that the predators were eating their prisoners.

D & D: cop slang for drunk and disorderly, used in some police departments outside of Zootopia.

grazer: epithet for 'ruminant,' frequently used to include all 'prey' people. A distinctly speciesist and very hostile word used by predator supremacists. Like other derogatory slang, this word cannot be used in a joking or casual manner.

lawnmower: see 'grazer.'

rattle: cop slang for riot armor. In Zootopia, it's a reinforced Lycra bodysuit and armored vest. This is Judy's primary uniform in the first movie and in this series, and this particular take on police wear seems to be tailored by Disney specifically to make Judy look really good in uniform. The language of the term is comparable to military 'battle rattle' minus the luggage and rifle.

slaughter: this term is typically used by 'prey' species to refer to a murder. Usage of this word invokes the archaic historical image of 'prey' people being hunted as food.

wiggler: ZPD cop slang for a person who is violently uncooperative, not yet seen in police departments outside of Zootopia.

\----- back to the top


	3. episode 1: the unbearable tedium of Utopia

**Summary for the Chapter:**

> Judy is still the greenest, wettest rookie in the ZPD, despite having recently single-handedly busted two high-profile villains in her first week on the job. She had also resigned during that period, and that turned out to be a major setback in her career as a cop. Busting Bellwether may have been her redemption for quitting in haste, but she clearly has a lot to learn about police work.

**Notes for the Chapter:**

> dramatis personae: 
> 
> Judy Hopps  
> ZPD staff:  
>  Cpl. Tom Schwarzwolf: timber wolf, male, Zoo-1  
>  Ofc. Layla Otieno: lion, female, Zoo-1  
> Eric Coney: European rabbit, male, musician, tea slinger  
> Lindsey Ellen 'L.E.' Eldridge: hare, female, telephone wrangler  
> Mikhail 'Mike' Turgenev: Bengal tiger, male, musician, comic relief?  
>   
> (full character descriptions in 'chapter 2')

[episode 1 act 1]

INT. ZPD patrol car on urban street, from right side of vehicle: JUDY HOPPS is in the right seat, CPL. SCHWARZWOLF is driving.

SCHWARZWOLF to JUDY:  
Keep your eyes open. This neighborhood is full of jaywalkers. A lot of traffic accidents.

(narrative):  
When I joined the ZPD, I thought my career was going to be one non-stop adventure. That's what I trained for in the Academy, and that's what the first week of my career was.

\-----

EXT. patrol car: a young BUCK with a short rack jaywalks in front of the patrol car. The patrol car screeches to a halt. 

SCHWARZWOLF (leaning out of his window, shouting at the BUCK):   
Cross at the crosswalk, you! You could have been run over!

JAYWALKING BUCK (startled):  
Ah, sorry!

[// as in the real world, deer rarely cross at the crosswalks.]

\-----

SCHWARZWOLF (sternly):  
You'll get a citation next time!

(narrative):  
The reality of police work is that it's mostly dull. These days I'm assigned to patrol Buxtown with Corporal Schwarzwolf.

\-----

INT. patrol car:

SCHWARZWOLF:  
Bogo wants to step up ticketing in this area. Maybe they'll cross at the crosswalks if enough of them have to be reminded with a fine.

{grr} I sometimes wonder why there even are crosswalks around here...

\-----

SCHWARZWOLF slams on the brakes. JUDY lurches forward, hands on the dashboard.

SCHWARZWOLF (angry):  
She gets a ticket! This one's yours.

\-----

EXT. street level, distant: JUDY is writing a citation for an elderly doe and a fawn.

JUDY to doe:  
This is for your own safety, ma'am. You really do have to cross at the crosswalk...

(narrative):  
This is the real police work: writing tickets for deer who can't find the crosswalks. Nothing compared to solving a mystery involving 14 missing mammals and a master criminal.

Well, it's a living.

\-----

[bookmark 1-1-1]  
  
[caption: at the end of the shift]

INT. Zoo-1 locker room: JUDY and LAYLA OTIENO are at their lockers. OTIENO is pulling on a t-shirt. JUDY, still in uniform, is hanging up her utility belt.

OTIENO to JUDY:  
How's patrol with Schwarzwolf working out?

JUDY (disinterested):  
It's coming along. We're in Buxtown, mostly writing tickets. I'm hoping there's more to it, you know?

OTIENO:  
That's police work for you, mostly the same old same old. 

[// for reference: Layla Otieno wears a loose and short camisole under her shirt, about the same color as her hair. In this milieu wherein female mammals are rarely buxom, the neck line isn't designed for 'cleavage.']

\-----

JUDY:   
Chief Bogo wants me to take the pistol class, so that's a change. 

OTIENO:  
Good on you! You must be on track for something more than patrol.

What's going on after work? Are you coming to the Shield? 

\-----

JUDY'S expression shows disinterest.

JUDY:  
Another night at the Shield? As much as I like that place, I'd like to be with folks I can relate to.

OTIENO:  
You mean folks like us? The Shield is the place. We're like you, all of us.

\-----

JUDY:  
All cops, and that's fine, but I meant... mammals like me. More like me than most cops.

OTIENO (with a broad smile):  
More like you? You mean, with tall ears and tiny tails? That kind of like you?

\-----

JUDY (blankly, almost distant):  
Exactly, folks like me.

OTIENO:  
You want Little Hasenburg in Precinct 4. Full of folks like you. Take the Z Loop to Walnut Street, you're there.

I understand. We all need our folks. 

\-----

[episode 1 act 2]

EXT. street level subway station, Walnut St: JUDY exits the station. Mostly rabbits and hares walk by, mostly in urban casual attire; some in 'alternative' clothing with t-shirts and occasional ear jewelry.

JUDY:  
It's not Bunnyburrow, but it's closer to home than I was a minute ago.

\-----

EXT. café, 'Teekeller:' JUDY sniffs the air deeply.

JUDY (smiling):  
I haven't had a decent cup of tea since I got here. 

\-----

JUDY enters the Teekeller. At the front counter, she is greeted by ERIC CONEY, who is wearing a black t-shirt with the letters 'Th' in a box with the number '90' in the upper left corner: the element symbol for Thorium.

ERIC to JUDY (warm smile):  
Hi. What can I get you?

JUDY (smiling, head held up to inhale the air in the room):  
Anything that isn't pekoe in a bag.

\-----

ERIC:   
I have just the thing. How does honeysuckle blossom sound?

JUDY:  
Sounds about right.

\-----

ERIC turns around to prepare the tea. JUDY eyes him up, ears to waist.

JUDY (THOUGHT):  
Wow he's cute. 

\-----

ERIC turns around to give JUDY a glass teacup with what appears to be a flower steeping in it.

ERIC:  
Here ya go, Honeysuckle Blossom.

JUDY (smiling):  
Thank you. It looks beautiful.

So you're a fan of Thorium, are you?

\-----

JUDY hands cash to ERIC.

ERIC:  
Not just a fan, I'm Thorium's composer.

JUDY (head inclined, smiling):  
If I remember only one thing from high school chemistry, it's that Thorium is a radioactive metal. It decomposes.

\-----

  
ERIC (grinning):  
Thorium is a band and I'm the composer. We're radioactive Metal.

I could give you our demo if you're interested. Not typical Metal, we're something completely different.

JUDY (eyes totally on ERIC, smiling):  
Do tell.

\-----

ERIC vaults over the counter: left hand down, left leg over first.

ERIC (over his shoulder as he vaults):  
Hey John, mind if I take five?

(VOICE OUT OF FRAME):  
If the counter is clear.

ERIC:  
Yup cool!

\-----

AT A TABLE: ERIC stands at the table. JUDY is seated, sipping the tea.

ERIC:  
Are you new to the city?

JUDY:  
Yeah, I took a job here a couple of weeks ago. I haven't had a decent cup of tea since I left home.

\-----

ERIC:  
I hope we can offer more than a decent cup of tea. The job, who's it with?

JUDY (sipping the tea):  
I work for the city. What can you tell a country girl about Thorium?

\-----

ERIC:  
We're not like anything you've ever heard, even if you've heard enough Metal. We're electronic symphonic Metal.

By the way, I'm Eric.

\-----

JUDY:  
Judy. 

I'll be honest, I don't know a lot about 'alternative' music. I'm not in the mood for anything that'll set my ears on fire.

\-----

ERIC is holding his phone face-forward to JUDY; a QR code block can be seen on the screen.

ERIC:   
Check this out. Scan this and give us a taste. If you like classical, you'll like Thorium.

JUDY (scanning ERIC's phone with hers):  
All right, I'll check it out.

This tea is fantastic... Eric.

\-----

JUDY exits the shop, waving to ERIC over her shoulder.

JUDY (smiling):  
I don't know a thing about whatever Metal, but wow he's cute.

\-----

EXT. Judy's apartment. JUDY is going up the stairs.

JUDY:  
I haven't even thought about bucks at all since I left home.

\-----

INT. Judy's apartment, view from the ceiling: JUDY is lying on her bed, hands behind her head, staring at the ceiling.

JUDY:  
It's not like I've met anyone in this city who would even be a candidate.

There's Nick, of course. He's interesting, but that would be complicated.

\-----

LATERAL VIEW: JUDY'S phone rings: *♫♪♫, ♫♪♫ JUDY sits up on the bed and holds it in front of her, answering the call in video-conference mode.

JUDY (smiling):  
Hi mom, dad! What's up?

JUDY'S PHONE:  
Hey Dude! How's our hero protecting and serving the city today?

\-----

JUDY (without interest):  
Mostly by writing jaywalking tickets. It's like parking duty but with mammals.

JUDY'S PHONE:  
Oh guess who we ran into! You remember Zachary, don't you? He wishes you well, and he wishes you would give him a call.

[// a general note: rabbits rarely hold phones or radios to their ears, unless the environment is very noisy or the conversation is not to be overheard. A hand's width away from the head is close enough.

\-----

JUDY rolls her eyes in disdain.

JUDY:  
Mom, Zack and I haven't spoken in ages.

JUDY'S PHONE:  
He's a nice boy, Judy. Your father and I both like him a lot.

JUDY:  
Yeah he's a nice boy. Very, very nice. And he knows we're not a good match. He's going to seminary. We're on totally different paths.

\-----

JUDY'S PHONE:   
You should give him a call. You two were such a cute couple.

JUDY:  
That was forever ago. We were 'a couple' for all of what, a few weeks?

\-----

JUDY'S PHONE: Give him a call, Judy. He leaves for school soon.

JUDY (with veiled sarcasm):   
Thanks mom, I'll make note of that. Listen, I've got something cooking. Can we talk later?

JUDY'S PHONE:  
Of course. Talk to you soon! Bye.

\-----

JUDY disconnects the call.

JUDY:  
I don't need to say goodbye to Zack again. 

Might as well check out that band and see what Eric does. Darn he's cute.

\-----

[episode 1 act 3]  
  
[caption: the next morning]

INT. patrol car: SCHWARZWOLF is driving.

SCHWARZWOLF:  
We missed you at the Shield last night. 

JUDY:  
I went out. Did I miss anything?

SCHWARZWOLF:  
Only the best game of darts ever played. It was pure magic, the Moon was totally over my shoulder.

\-----

JUDY (holding a bag of chips):  
Mind if I have a snack?

SCHWARZWOLF (eyes on the road):  
Go ahead. What'cha got? 

JUDY: Kale chips. Care for some?

SCHWARZWOLF:  
Pass. 

[// artistic note: the brand of the chips is 'Herds,' because why not. These are 'ripply' kale chips.]

\-----

JUDY eats the chips in true rabbit fashion, holding and loudly nibbling on a single chip. The sound of the nibbling is heard: *crunch crunch crunch*

\-----

SCHWARZWOLF:  
I see Bogo has you down for pistol training.

JUDY (eyes a bit toward SCHWARZWOLF):   
*crunch crunch crunch*

\-----

SCHWARZWOLF:  
That's a big step up for a rookie, you know. I didn't get picked for the course for four months. 

JUDY (eyes on SCHWARZWOLF):  
*crunch crunch crunch*

\-----

SCHWARZWOLF:  
You know that's a huge responsibility.

JUDY (eyes rolled toward SCHWARZWOLF):  
*crunch crunch crunch*

\-----

SCHWARZWOLF (impatiently):  
Bogo must have you in mind for - do rabbits ever eat quiet food?

JUDY (holding the half-eaten chip, embarrassed):  
Ah, I can eat later.

\-----

JUDY:  
I don't know what Chief Bogo has in mind for me. I'm not sure if he wants me to go up the ladder, or to fall off it. He's put me in spots like that before, you know.

\-----

SCHWARZWOLF (staring straight ahead):  
Someone has to tell you, Hopps: you could be a good cop if you weren't moody. Bogo wouldn't tell you that, but you need to hear it.

JUDY is surprised.

\-----

JUDY (defensively):  
I'm moody?!

SCHWARZWOLF:  
Yes, moody. Reckless. Just listen for a minute, okay? My job is to show you the ropes and that means showing you how to not get fired.

\-----

SCHWARZWOLF:  
I know rabbits can be emotional, but you're not doing a lot to show you aren't. Good cops aren't flaky. 

\-----

JUDY, annoyed, raises a finger, as to object.

SCHWARZWOLF:  
Listen to me! This is your career. Bogo doesn't have a lot of stock in you, and you quitting the force right after rescuing those 14 missing mammals didn't help your standing one bit!

\-----

JUDY lowers her hand, her expression a bit sullen.

SCHWARZWOLF:  
You were a hero and you walked away from that. Can you see just how bad that was for you?

JUDY:  
I guess that wasn't the best move... but I wouldn't have broken the Bellwether case if I didn't go back home and learned what Night Howlers are!

\-----

SCHWARZWOLF (still with eyes on the road):  
We have books, you know. There's a library downtown, a big one.

You were reckless. Typically hare-brained.

JUDY slumps in her seat, dejected.

\-----

SCHWARZWOLF:  
I'm not sure how you're back, but I'd bet someone twisted Bogo's tail 'til you had a badge again. Even if you do have a patron saint, that doesn't mean you can't get fired or benched if you screw up again.

\-----

SCHWARZWOLF:  
And pistol training is a perfect opportunity for you to get washed out.

JUDY:  
What does he have against me, anyway?

\-----

SCHWARZWOLF:  
You showed up the detectives your first week on. Embarrassed them, and embarrassed him.

He doesn't like upstarts who fall backwards into accidental success. You got lucky.

\-----

JUDY (indignant):  
Breaking that case and getting Bellwether wasn't luck!

SCHWARZWOLF (plainly):  
Tell that to First Detectives and Bogo, see how far it gets you.

\-----

SCHWARZWOLF:  
You'll have to be twice as good as every other cop to be seen as being half as worthy of the badge. And you'll have to do that without showing anyone up.

\-----

JUDY (concerned):  
That training starts this week.

SCHWARZWOLF:  
Don't blow it, Hopps. Keep your head on and keep it on straight.

JUDY:  
Right. No pressure, it's only my career.

\-----

[episode 1 act 4]  
  
[caption: that evening]

INT. the Teekeller: JUDY enters. ERIC and L.E. ELDRIDGE are standing at a table, talking.

JUDY:  
At least nobody here is looking for me to screw up.

\-----

L.E. and ERIC hug briefly.

JUDY (disappointed):  
Aww don't tell me he's taken!

\-----

ERIC leaves, waving to JUDY in passing.

ERIC:  
Hey Judy. Did you check out our tunes?

JUDY:  
Ah, yeah... bye?

\-----

JUDY turns to the counter. The counter attendant, a female skunk, is standing at the counter.

JUDY:  
Just a tea, please. Whatever is quick, iced pekoe is fine.

\-----

JUDY finds a table adjacent to the one where L.E. is now sitting. MIKE TURGENEV enters through the front door.

JUDY to herself:  
What would a tiger want in a tea shop?

[// refer to the character notes in Mike's profile]

\-----

FOCUS TO the door: ERIC returns, waves to JUDY.

ERIC:   
Hey Judy.

JUDY (mildly surprised):  
Oh I thought you just left.

ERIC:  
So did I, but I left my phone. L.E., did I leave it with you?

\-----

FOCUS ON the table with L.E., where MIKE has taken a seat:

L.E. (holding ERIC'S phone):  
Right here, scatterbrain.

MIKE (laughing):  
You'd forget your head if you could.

\-----

ERIC (accepting his phone from L.E.):  
Thanks. Hey Mike.

MIKE:  
Hey bud. Hold tight to your tail or you'll be leaving that next. 

\-----

WIDER FOCUS to include the table where L.E. and MIKE are sitting, and JUDY'S table where ERIC is standing: ERIC pulls a pen from a pocket.

ERIC:  
I'm glad you're still here, but I gotta dash. I have a meeting with some recording folks. 

\-----

ERIC writes on the napkin under JUDY'S tea.

ERIC:  
Drop me a line if you want more music. Or anything. I'd love to talk but I gotta go. Bye!

\-----

ERIC exits. JUDY looks at the napkin, puzzled.   
  
L.E. (laughing):  
Someone has his attention.

JUDY (self-conscious):  
Ah..?

MIKE:  
Come join us, why don'tcha. We're harmless, mostly.

\-----

JUDY takes her tea and stands at their table.

MIKE to JUDY:  
FYI, he doesn't give his number to just anyone. You must have his eye.

JUDY (half-embarrassed):  
I suppose so..?

\-----

JUDY puts her tea down and sits next to MIKE. L.E.'S hand is reached as far across the table as she can, on one of MIKE'S hands.

JUDY:  
Ah, Ellie? I figured that you and Eric are..?

L.E. (smiling):  
It's 'L. E.' Eric is like my brother. I love him, but not like that. This fine specimen is my love.

\-----

JUDY appears very surprised.

MIKE to JUDY (with a wide grin):  
I can tell you're surprised.

JUDY (without humor):  
I should really learn to not be surprised by anything in this city. Ah, 'L. E.?'

MIKE:  
'Leporid Explosive.'

\-----

L.E. (smiling):  
Mike's almost funny, isn't he? My parents call me Lindsey, but nobody else does.

JUDY to L.E.:  
So Eric is...

L.E.:  
Single, and you must have made an impression on him.

\-----

MIKE:  
He doesn't give out his number to anyone who isn't in the music business... Unless you are?

JUDY:  
Oh no, I work for the ZPD.

MIKE:  
Oh, clerical?

JUDY:  
Something like that. So Eric: single. Right. And cute as a button, got it.

\-----

L.E.:  
He's a bit of work. I'm just letting you know, okay? He can be shy, but he could be worth the effort.

JUDY:  
Shy is fine, I'm used to shy. But if he's shy, why did he give me his number? That's not very shy.

\-----

MIKE:  
He's shy but optimistic. I'm guessing he gave you the link to the Protocol Symphony demo?

JUDY:  
I haven't listened to it yet.

L.E.:  
What are you waiting for? It's great. And I don't like a lot of Metal.

\-----

[caption: back home]

INT. Judy's apartment: there is an open Chinese takeout container on the table. JUDY, wearing earbuds, eats from the Chinese takeout (something leafy and noodles) with chopsticks.

[music: ♪♫...]

\-----

JUDY's eyes widen in intense attention and surprise.

[music: ♪♫..!]

\-----

[episode 1 act 5]   
  
[caption: the next day]

INT. metro train car: JUDY, in street clothes, is on her way to work, wearing earbuds, a small backpack over her shoulder. Her eyes are wide, she has a small smile.

[music: ♫♪..!]

\-----

INT. locker room: JUDY is hanging up her utility belt, LAYLA OTIENO, necktie removed, is unbuttoning her uniform shirt.

OTIENO:  
Are you coming to the Shield tonight maybe? Schwarzwolf says he misses playing darts with you.

JUDY:  
He can beat me at darts any night, and I'm not much of a drinker.

OTIENO:  
So where are you in a hurry to get to?

JUDY:  
I found a tea house uptown. 

[// get used to it; we'll be seeing a lot of Layla's camisole.]

\-----

OTIENO (smiling):  
Um'hm. You found your folk.

Just don't forget about us, okay? Some of us miss you.

\-----

INT. Zoo-1 lobby: OTIENO and JUDY, in street clothes, are walking through. SCHWARZWOLF waves to JUDY.

SCHWARZWOLF:  
Hopps! You joining us tonight? I'm buying.

JUDY (weak smile):  
Thanks, but another night? I have to get some rest. Pistol training tomorrow, you know.

\-----

FOCUS ON JUDY and OTIENO:

OTIENO (with a sly smile):  
That was no lie at all, was it.

JUDY (plainly):   
I do have that class tomorrow.

\-----

[episode 1 act 6]

INT. Teekeller: JUDY enters. ERIC is at the counter.

JUDY to ERIC:  
I listened to your demo last night.

ERIC (hopeful):  
And?

JUDY:  
It's... different. I didn't know what to expect.

  
\-----

ERIC:  
I see it didn't burn your ears off. What's your pleasure tonight?

JUDY:  
Something sweet... to go.

\-----

ERIC hands a takeout cup to JUDY.

ERIC (quizzical):  
Something sweet. To go?

JUDY (all eyes on ERIC, smiling weakly):  
Thanks!

\-----

EXT. Teekeller: JUDY exits with the tea. 

JUDY:  
If he's the shy one, then it's up to me to break the ice.

\-----

CLOSE FOCUS ON JUDY's phone, texting Eric: her thumbs are visible as she holds the phone.

me:  
Hi, it's Judy. When are you  
done with work?  
  
ERIC:  
judy, sweet to go, a minute   
ago?  
  
[// artistic rendering: for the purpose of legibility, the display on Judy's phone is limited to 32 monospace characters.]

\-----

The text exchange continues.

me:  
Yep that's me. (ツ)

ERIC:  
i'm off early tonight, in half   
an hour

me:  
Do you know a place where we can  
meet?

\-----

The exchange continues.

ERIC:  
meet me at the anvil, 11th &   
pine

me:  
I'll be there.

(VOICE OUT OF FRAME):  
Graces guide me, I'm acting like a teenage doe in heat.

\-----

[episode 1 act 7]

INT. the Anvil: JUDY enters, looking around as if apprehensive.

JUDY (guilty expression) (THOUGHT):  
Meeting a guy at a bar. I'm really doing this, aren't I.

[// artistic note: when applying other bar patrons, do remember it's a metalhead venue.]

\-----

L.E. and MIKE approach JUDY.

MIKE to JUDY:  
Look who it is. Work or play tonight?

JUDY (surprised):  
Mike, L.E. Hey, fancy meeting you here. Er, not work.

\-----

JUDY (self-conscious):  
I'm not here on work. Just here for... a drink. Really, that's it. Just a drink.

L.E. (knowingly):  
Right, a drink. At Eric's hang-out bar. Right before he gets out of work.

\-----

L.E.:  
Just so you know, he thinks you're cute too.

JUDY (embarrassed but with half a smile):  
I was hoping it wouldn't be that obvious.

L.E.:  
Don't worry about it. There's nothing wrong with liking someone... or even wanting someone.

\-----

JUDY (embarrassed but not upset):  
It's really that obvious, isn't it.

L.E.:  
There's no shame in that. Relax, nobody here is judging you.

\-----

JUDY'S phone rings: *♫♪♫, ♫♪♫ JUDY holds it in her hand, but does not answer the call.

JUDY to her phone:  
Oh crackers, my parents. Speak of being judged!

\-----

JUDY rejects the call.

JUDY:  
They would throw a fit if they knew I was at a bar meeting a guy... who isn't Zack.

Or any guy at any bar.

JUDY'S PHONE receives a message: *♫!

\-----

FOCUS ON JUDY's phone, her thumbs visible: a text from one Nick Wilde.

Nick Wilde 🦊:  
Long time no see! You'll never   
guess who passed the written   
exam for ZPD Academy. :)

(VOICE OUT OF FRAME):  
This night just isn't getting easier. I forgot we had each other's numbers.

\-----

ERIC arrives, joins JUDY et al at the bar.

ERIC to JUDY (smiling):  
Hey. I didn't keep you waiting, did I?

\-----

[montage begins:]

AS VIEWED FROM the inside of the bar, a bartender's perspective: JUDY, ERIC et al. have a round of drinks. Clock is visible, it's 7:15. ERIC is focusing intently on JUDY. JUDY is cheerful...

\-----

Round 2: more drinks, much merriment. Clock on the wall behind them reads 8:10. ERIC is right next to JUDY, practically in her seat. JUDY does take notice of this and shows some apprehension.

\-----

AS VIEWED FROM the outside of the bar: L.E. and MIKE leave, waving goodbye to ERIC and JUDY. ERIC and JUDY are still seated; ERIC has his hand on JUDY'S waist and this makes her obviously uncomfortable.

[/end montage]

\-----

JUDY turns out of her seat, headed toward the floor. ERIC remains seated.

JUDY (looking at her wristwatch):  
Oh my goodness, look at the time. 

ERIC:  
Is it late? Time for you to get to bed?

\-----

JUDY (THOUGHT):  
Yes, by myself.

JUDY to ERIC (SPOKEN):  
Yeah it's late and I have work in the morning.

\-----

[/ end episode 1]  
[// 100 frames]

[// 2021 02 12 wrg]


	4. episode 2: pistol training

**Summary for the Chapter:**

> Resuming the story: Judy has met Eric Coney and has yet to respond to a text from Nick. She goes to work the next day, her first day of pistol training.

**Notes for the Chapter:**

> dramatis personae:
> 
> Judy  
> ZPD staff:  
>  Layla Otieno  
>  Chief Bogo [c]: Chief of Police and de facto Captain of Zoo-1  
>  Tom Schwarzwolf  
>  Maj. Friedkin [c]: polar bear, female, chief of training  
>  Ofc. Browning: brown bear, male, Zoo-2  
>  Ofc. Wolford [c]: timber wolf (dark phase), male, Zoo-1  
>  Ofc. Delgato [c+]: lion, male, Zoo-1  
>  Ofc. Jay 'Red' Redfern: American bison, male, Zoo-4 Uptown West  
> Eric Coney  
> Mike Turgenev  
> Joachim 'Wacki' Terremoto: black panther, male, drummer  
> Max Eisenberg: timber wolf, male, guitarist  
> L.E. Eldridge  
> Nick Wilde  
> 

[episode 2 act 1]

INT. Zoo-1 locker room: OTIENO is in uniform, buckling her utility belt. JUDY is in street clothes, wearing a Thorium t-shirt.

  
OTIENO:  
So you like Thorium, yeah?

JUDY:  
I know the composer.

OTIENO:  
It's a radioactive metal, it decomposes.

\-----

JUDY is pulling off the t-shirt, wearing a white tank top beneath.

JUDY (smiling):  
Déjà vu.

OTIENO (confused):  
Hm?

\-----

INT. ZOO-1 BULLPEN: BOGO at the lectern.

BOGO:  
Item three: jaywalking citations are up by 25% in Buxtown, thanks to Schwarzwolf and his partner. We'll be keeping an eye on that to see if traffic accidents go down.

JUDY appears somewhat annoyed.

\-----

BOGO:  
Assignments: Fangmeyer with Schwarzwolf until further notice. Otieno with Delgato, park district. Hopps, downstairs with Major Friedkin. Everyone else, your previous assignments.

Questions? Dismissed.

\-----

BOGO exits, ZPD officers follow. SCHWARZWOLF holds JUDY back.

SCHWARZWOLF to JUDY:  
Keep your head on straight, Hopps. 

JUDY (nervous):  
No pressure. It's only my career, right?

\-----

DOWNSTAIRS, indoor range: JUDY and OFC. BROWNING (Zoo-2) standing at ease, MAJ. FRIEDKIN at the head of the room.

FRIEDKIN to both (holding a large semi-auto pistol):  
Let's start with getting you familiar with the tranquilizer dart pistols. Browning: yours will be the SA P30, five darts. This is the standard issue tranq pistol for the ZPD.

\-----

FRIEDKIN (holding a rabbit-sized semi-auto):  
Hopps: yours is the LapinArms Defender, 2 darts. A recent addition to our armory.

It better not be too much for you to handle.

\-----

[caption: across town]

INT. warehouse studio: ERIC and MIKE are standing at their keyboards. Amps, computers, rack behind them. ERIC has a finger on a corded earphone in one ear.

MIKE:  
So... what's going on with Judy?

ERIC:  
What's to tell? She's cute, she's fun, she's playing hard to get.

\-----

MIKE:  
I'm not gonna ask how far you got...

ERIC (focusing on his keyboard, but with a lecherous smile):  
She's looking for some fun now that she's out of the country. I'll show her a good time soon enough.

\-----

ERIC (confidently):  
I've got an 'in' with her that she can't resist.

MIKE (sarcastically):  
You mean besides your obvious charm? 

ERIC:  
The tea, it's like the bumpkins' other religion. She's a regular, guaranteed.

\-----

FOCUS TO ERIC:

ERIC:  
I'm pretty sure I'll be second place to her job, but that works for me.

I don't really mind being a tail call. We're on a schedule with shows and studio time, I have my own priorities.

\-----

[episode 2 act 2]

INT. BASEMENT RANGE: FRIEDKIN, BROWNING and JUDY are standing at the target range, the ledge of which is several cm over JUDY's head. BROWNING and JUDY are holding their pistols, pointed (but not aimed) at the floor. Down-range is to the right of the frame.

FRIEDKIN:  
Targets are one metre across, ten metres downrange. Your is to put two darts into the 10cm circle in five seconds.

Browning, you have five darts plus one in the chamber. Hopps, you have two and one.

\-----

FRIEDKIN to both:  
Holster your pistols. On my signal...

Fire.

\-----

FOCUS OUT to include: JUDY in foreground, BROWNING to her left, FRIEDKIN behind them both. BROWNING is firing downrange. JUDY has drawn her pistol but hasn't fired; she's staring at the solid wall in front of her, hesitant.

FRIEDKIN:  
Three seconds, Hopps!

\-----

JUDY hops vertically (but not over) the ledge and fires once. 

\-----

JUDY hops again, firing twice.

FRIEDKIN (shouting):  
STOP. Cease firing.

\-----

FRIEDKIN reels in the target papers on thick backstops, labeled 'BROWNING' and 'HOPPS.' BROWNING's target has one dart in the 10cm circle, two outside the circle, no others on the page. The HOPPS target has two darts in the 10cm circle, one at the edge of the circle.

FRIEDKIN:  
Very good, Browning! We'll make a marksman out of you yet.

Hopps: not bad. Work on your grouping.

\-----

FOCUS ON JUDY:

JUDY (frowning, sotto-voce):  
Twice as good, to be half as worthy.

\-----

FRIEDKIN:  
Next up, silhouettes. We are aiming for large muscle groups. On my mark, one dart in two seconds. Holster up, ready - FIRE.

\-----

BROWNING fires. JUDY hops above the ledge and fires.

\-----

FRIEDKIN reels in the targets (nonspecific bipedal mammal silhouettes about 2 metres tall on thick backstops). BROWNING's target has two darts in the target's head. HOPPS' target has one dart in the target's right hip.

FRIEDKIN:  
Browning: nice grouping, not-so-nice target selection. And I asked for one.

Hopps: do it again and show me you're not just lucky.

\----- 

JUDY puts a fresh magazine into her pistol.

JUDY (sneering):  
{it's not luck.}

FRIEDKIN:  
Speak up, squeaky toy.

\-----

JUDY pulls back the slide of her pistol. She focuses on the pistol in her hands, not on FRIEDKIN.

JUDY (with a raised voice):  
With all due respect ma'am my success is not luck and I think you know it.

\-----

FOCUS BACK to include all, standing before the ledge: BROWNING's eyes are wide, staring at JUDY in disbelief.

FRIEDKIN (calm but stern):  
Angry cops don't pass this course, missy. Now show me you know how to act.

On my signal...

\-----

FRIEDKIN:  
Fire.

BROWNING draws and fires. JUDY hops above the ledge and fires once.

\-----

FRIEDKIN has retrieved the silhouettes and is examining them: BROWNING's target has six darts in the head. JUDY's target has two closely grouped in the right hip.

FRIEDKIN:  
Browning: tune your sights or get your eyes checked. And I asked for one.

Hopps: darn you're lucky.

JUDY is visibly irritated.

\-----

[caption: many targets later]

FRIEDKIN to both:  
Looks like you stumbled your way to the next lesson. I'll see you both tomorrow at the Academy grounds, building 3 at 8:00 sharp. Dismissed!

Hopps, hang on.

JUDY (irritated, clenched teeth):  
Yes ma'am.

\-----

BROWNING walks off.

FRIEDKIN:  
If I could give you a bit of advice -

JUDY (directly):  
I know what you're doing to me.

\-----

FRIEDKIN (annoyed, hands on hips):  
Let's try this again. If I can give you a bit of advice: you need to check your temper. I know your kind can be emotional, but - 

JUDY (offended, aggressive posture):  
My kind?!

\-----

FRIEDKIN (shouting):  
I AM ONLY GONNA SAY THIS ONCE. Shut it and listen to me!

JUDY is stunned.

\-----

FRIEDKIN (calmly):  
You're a decent cop wrapped up in a whole bunch'a temper. Didn't I tell you, hot-heads don't pass this course?

This ain't about your career, this is about you. You have a lotta heart, but you need to fix your attitude right now.

\-----

JUDY raises a finger to interrupt:

FRIEDKIN (still calmly):  
I said listen. You can't protect or serve if you can't check your attitude. You already made some bad decisions and I have no idea how you're still a cop.

You won't be a cop for long if you don't learn from your mistakes. You were gonna say?

\-----

JUDY is wide-eyed, silent, a blank expression. FRIEDKIN'S arms are crossed, her expression shows impatience.

FRIEDKIN:  
See you tomorrow morning at camp.

\-----

LOCKER ROOM: JUDY is in street clothes (incl. the Thorium t-shirt), sitting on the bench, bag packed, her phone in hand.

JUDY (looking at her phone, exhausted):  
Eric, mom and dad, Nick, Schwarzwolf: everyone wants my attention and I just want to crash.

\-----

OTIENO enters the locker room.

OTIENO (cheerful):  
What's going on, Judy?

JUDY:  
Hey Layla. How's the beat in the park district?

\-----

OTIENO (smiling):  
Keeping the peace, you know. Huh, easiest beat ever. The worst criminals in the park are the folks who can't find the trash cans.

Oh if you should ever get that beat: if a squirrel runs up a tree, just wait 'til he comes down. They own the trees.

\-----

OTIENO:  
Are you coming to the Shield tonight, or are you going to your new home-away-from-home?

JUDY:  
The Shield, meeting Schwarzwolf.

\-----

OTIENO (smiling):  
Schwarzwolf! You been hanging out with him some before you found your wherever just now. You want something with him and it isn't just a short pour and him beating you at darts, hmm?

Word to you: don't 'fraternize' until you're past probation.

\-----

JUDY (dismissively):  
Oh please, he is not my type.

OTIENO:  
You mean because he's canid?

JUDY:  
Because he's married. Did you notice the ring on his paw?

I may be a lot of things but I am not a home-wrecker.

\-----

LOBBY: OTIENO and JUDY are walking through, SCHWARZWOLF waves to JUDY.

SCHWARZWOLF:  
Hopps: The Shield tonight? Supper is on me.

JUDY (almost sarcastically):  
Nachos and fries, the feast of the noble. 

\-----

EXT. Zoo-1 building: JUDY is walking out, alone.

JUDY (rolling her eyes in mockery):  
Not my type because he's a canid. I'm not biased against canids.

JUDY'S PHONE receives a message: *♫!

\-----

JUDY looks at her phone.

JUDY:  
Speaking of, it's Nick. I can't put him off forever.

JUDY'S PHONE receives another text message: *♫!

\-----

FOCUS ON Judy's phone: text messages, displayed as below in monospace. JUDY's finger hovers over the message from ERIC.

Eric Coney <3 🐰 🍵:  
hey we're playing the anvil at 8

Nick Wilde 🦊:  
Judy? It's Nick. Is this your #?

Schwarzwolf [★]:  
Keep your head on straight, Hopp

Mom and Dad 🐰🐰 🥕:  
We missed you last night! Is eve

\-----

FOCUS ON JUDY's phone, text convo with ERIC: the tips of her thumbs are visible over the 'keyboard.'

Eric Coney <3 🐰 🍵:  
hey we're playing the anvil at 8  
tonight. you're my vip guest,  
just say your name at the door.  
[17:12]

\-----

me:  
I have a meeting after work.  
I'll try to make it, but no  
promises.  
[17:16]

JUDY (SPOKEN OUT OF FRAME):  
That's one down, two to go.

\-----

INT. the Anvil: on a small, low stage, ERIC, MIKE, WACKI TERREMOTO and MAX EISENBERG are setting up equipment.

ERIC to MIKE:  
She's got something after work so maybe.

MIKE (flatly):  
This is Mike's complete lack of surprise. Anyone got a metre of MIDI cable for me?

\-----

Ext. Zoo-1: FOCUS to Judy, holding her phone with both hands and typing.

JUDY (narrating as she types):  
That leaves Mom and Dad...

Hi Mom and Dad. Everything is fine, no worries here. Really busy. Call after 7 tomorrow or any time Thursday. Love you, Judy.

\-----

INT. the Shield: JUDY enters, passing the main bar. OTIENO is at the bar. Other recognizable Zoo-1 cops are there in street clothes.

OTIENO to JUDY (smiling):  
Schwarzwolf's in the back by himself. He must be waiting for someone... Don't you wear him out tonight, hm?

JUDY (smiling thinly with mild annoyance):  
{heh}

\-----

AT a booth in the back of the bar: SCHWARZWOLF (in street clothes, crew shirt and slacks) is seated. A half-empty pint glass of beer is on the table. JUDY approaches.

SCHWARZWOLF:  
Hopps, what's your pleasure?

JUDY:  
Ginger ale if this is still work.

\-----

The waitress, an antelope (very small horns), approaches. SCHWARZWOLF chugs his beer.

SCHWARZWOLF (from behind his glass):  
Another lager, a short ginger ale for my friend. And nachos for us, green.

\-----

The waitress exits.

SCHWARZWOLF (indicating Judy's t-shirt):  
Thorium?

JUDY:  
I know the composer.

SCHWARZWOLF (confused head tilt):  
Is that a religious thing?

JUDY (taking the seat opposite SCHWARZWOLF):  
Long story. You wanted to talk?

\-----

SCHWARZWOLF:  
This is still work. How was training?

JUDY (exhausted expression):  
It was rough. Rougher than I expected.

SCHWARZWOLF:  
Friedkin ripped you a new one?

JUDY:  
Don't ask.

\-----

SCHWARZWOLF:  
So she did and you probably deserved it. Hate her now, thank her later.

JUDY:  
She gave me some 'homework,' something I probably should've done a long time ago.

\-----

The waitress approaches with the nachos and drinks.

SCHWARZWOLF:  
Do what you have to, Hopps. You think you'll pass the course?

JUDY:  
Of course I will. I only have to pass, right?

\-----

The waitress serves the table. FOCUS ON SCHWARZWOLF and JUDY.

SCHWARZWOLF:  
No you don't have to pass. You can always drop it and take a desk job or parking duty...

with no way up. You could probably do better as a deputy in Farmtown.

\-----

JUDY, standing at the edge of her seat, reaches over and takes a nacho: *crunch crunch crunch*

SCHWARZWOLF:  
Probably not what you want with us. I know you want to get ahead. Just don't bite off more than you can chew.

\-----

JUDY's nacho is halfway into her mouth, in true rabbit fashion: *crunch crunch crunch*

SCHWARZWOLF:  
All the same, we need your head on straight when we're in the field. Your days of banking on luck are over.

No-one knows how you pulled off the whole Bellwether stunt, you are one lucky bunny.

\-----

JUDY raises a finger to interrupt, still chewing the nacho chip: *crunch crunch crunch*

SCHWARZWOLF:  
Yes?

\-----

JUDY's finger is still up, most of the nacho chip is in her mouth. SCHWARZWOLF impatiently waits: *crunch crunch crunch crunch crunch*

\-----

JUDY swallows.

JUDY (annoyed):  
I'm getting tired of everyone saying I'm lucky. Does anyone know how hard I worked to get this far?

SCHWARZWOLF:  
You're not the only one. Trunkaby and Wolford have children. You think they're on easy street? We all have it rough.

\-----

JUDY (contemplative):  
All right, so it isn't just me.

SCHWARZWOLF:  
Darn right it isn't. 

\-----

SCHWARZWOLF leans forward on his elbows.

SCHWARZWOLF:  
Don't take this the wrong way, Hopps, but I like you. You're a decent cop... and a bunch of other stuff. Still a decent cop, lucky or not.

All that other stuff aside, I need to know I can count on you.

\-----

SCHWARZWOLF crams a handful of nachos into his mouth.

JUDY:  
Do or fail, I get it.

I also understand, it's the only way to get ahead.

\-----

SCHWARZWOLF drinks deeply from his beer.

JUDY:  
It's sink or swim, but I can't sink.

I won't sink. I owe that to everyone.

\-----

SCHWARZWOLF puts down his glass, empty.

SCHWARZWOLF:  
You only owe your best. If your best is meter maid, then that's just you. You don't owe anything more than that.

But! You can't be 'best meter maid' if you're with me. Got that?

JUDY (surprised, quietly):  
{How the heck do you not choke?}

\-----

SCHWARZWOLF (smiling):  
Enough about work. Feel like a round of darts? Not for money, of course. Browning from Zoo-2 says you're a natural with darts, 'chuf!

JUDY:  
All right, but I need to get out of here by 7.

[// 'chuf' is a quiet laugh or snicker particular to lupines.]

\-----

[montage begins:]

AT THE DARTBOARD: WOLFORD, DELGATO and OTIENO are present. SCHWARZWOLF throws a dart. JUDY stands behind him.

\-----

JUDY hops up and throws a dart. WOLFORD and DELGATO point at the dart board, loudly expressing amazement. SCHWARZWOLF, standing behind her, smiles with approval.

\-----

JUDY points at her wristwatch. SCHWARZWOLF nods. WOLFORD and DELGATO wave goodbye. OTIENO appears a bit puzzled.

[/end montage]

\-----

[episode 2 act 3]

EXT. the Shield: JUDY exits.

JUDY (holding her phone close to her head but not against her ear):  
About half an hour to get uptown. Might as well find out what's up with Nick.

Hi Nick, Judy. Yes we can talk for a minute, I'm on my way somewhere.

\-----

JUDY walks onward, still on the phone.

JUDY:  
Lunch? Sure, how about Thursday? I know a salad place downtown.

I'm sure they have something you can eat. Unless you can think of someplace else? Chinese? Sure, why not.

\-----

JUDY walks down the stairs of a subway station. 

JUDY on her phone:  
I would, but I'm meeting a friend. His band is playing in Little Hasenberg. Yeah the Bohemian Quarter, I guess.

The band? Thorium. I only heard of them the other day.

\-----

JUDY is on the station platform.

JUDY on her phone:  
I don't know what to call them. Thorium is a radioactive metal if that means anything.

A what? A headbanger, what's that? No not me, nope.

\-----

A train arrives at the station.

JUDY:  
It's more of a social thing. I'm still kinda new to the city.

Can we talk later? My train is here, bye.

\-----

ABOARD THE TRAIN: JUDY leans back into a seat.

JUDY to herself:  
He does want to be a cop. Wonders never cease.

\-----

ELSEWHERE downtown: NICK has his phone in both hands, both thumbs on the screen as he types.

NICK to himself:  
Let's see, Thorium... yeah I know it's a radioactive metal.

Thorium, music, concert, tonight.

\-----

Nick walks, looking at his phone.

NICK to himself:  
The Anvil, 11th & Pine. That's the Z Loop, right off Walnut Street.

\-----

EXT. the Anvil: JUDY is outside the bar. JAY REDFERN leans against the doorframe, arms crossed across a clipboard. JUDY reaches into her pocket.

REDFERN to JUDY:  
Got ID?

[// if possible, the artwork next to the door should be included to better show the location.]

\-----

JUDY opens her wallet and hands over her driver's license.

JUDY:  
Judy Hopps. I'm on the guest list?

REDFERN (peering into Judy's wallet):  
Looks like a shield. You on the job, Hopps?

\-----

JUDY (a sly smile):  
I wouldn't be on the guest list if I was on the job.

REDFERN (looking at his clipboard):  
We got a rabbit, 'Judy Copps.' Huh! {snort} That's gotta be you.

\-----

INT. the Anvil: a somewhat rowdy scene populated by an equal mix of 'predator' and 'prey' mammals in typical headbanger apparel (t-shirts with no recognizable band logos). JUDY, a wristband wound twice around her left wrist, stands at the door. Her eyes are wide open, she's somewhat stunned.

JUDY:  
Well..!

\-----

FOCUS TO the bar: ERIC, MIKE, L.E., WACKI TERREMOTO and MAX EISENBERG are at the bar. All but L.E. are wearing black hoodies.

ERIC to JUDY (waving and shouting):  
JUDY! Over here!

\-----

JUDY joins ERIC at the bar.

ERIC to JUDY (excited):  
Glad you made it! Tonight is gonna be on fire. Let me introduce you to the band.

\-----

ERIC places his arm around JUDY's waist and gestures to the other members of the band. TERREMOTO smiles widely, showing off his overly sharp teeth. ESIENBERG'S expression is flat, almost funereal.

ERIC:  
Max the Axe, Wacki on drums. Our favorite session players. They used to be in Lunar Opera, that's its own story.

EISENBERG:  
Greets.

\-----

FOCUS TO the front door: NICK enters, a surprised expression on his face.

NICK to himself:  
I don't know what she sees in this crowd...

\-----

VIEW FROM BEHIND NICK: in NICK's line of sight, JUDY and ERIC are at the bar. NICK notices ERIC's hand on JUDY's waist.

NICK:  
And that must be her 'friend.'

\-----

FOCUS ON JUDY and ERIC at the bar: EISENBERG, TERREMOTO and MIKE make their way to the stage; L.E. puts her hand on MIKE's back as he goes.

ERIC to JUDY (facing her, hands on both her shoulders):  
We gotta take the stage, babe. 

\-----

ERIC playfully licks JUDY'S face, between the eyebrows and upward to her forehead.

JUDY (smiling, playfully pushing him away):  
You are such a buck!

ERIC:  
Sure, we can do that after the show.

\-----

ERIC goes toward the stage.

JUDY (shouting after ERIC):  
I said ' **buck!** '

\-----

FOCUS TO NICK:

NICK (very surprised):  
She said what?

\-----

FOCUS TO JUDY and L.E. at the bar:

L.E. (surprised, laughing):  
You two should what?

JUDY (annoyed):  
Buck! I said he's such a buck. 

\-----

The room darkens, spotlights on the band: all wearing black hoodies to cover their heads (ERIC's ears are tucked back beneath his hood), heads head low, their faces in shadow. 

[// Thorium is an instrumental band with no vocalist; there are no mics on the stage. Refer to stage layout diagram.]

\-----

...and the band plays, to an appreciative crowd. JUDY hangs back at the bar, eyes on the stage, ears erect.

\-----

FOCUS ON NICK at the back of the bar, leaning against a wall:

NICK:  
This is not my crowd, not my place, not my night, not here not now no way.

\-----

FOCUS ON INT. front door: NICK exits.

NICK:  
'Til Thursday, Officer Hopps.

\-----

EXT. street: NICK walks away from the Anvil. 

NICK (dryly):  
Wow is she ever full of surprises. All this time I thought she was a bumpkin, as simple as could be. 

[// this frame should include Redfern and the artwork next to the doorway. Redfern would be leaning against the wall, arms crossed.]

\-----

EXT. subway station: NICK approaches.

NICK:  
I sure didn't think she was a party girl who hung out with headbangers and swore like a drunk sailor. 

\-----

INT. subway station: NICK leans against a wall.

NICK:  
I really don't know a thing about her. A country girl, a party girl. Not a simple girl, whatever she is.

\-----

[caption: after the show]

INT. JUDY'S AP'T, CEILING VIEW of her bed: JUDY, wearing a floral pattern night-shirt, is wide awake, hands folded at her waist. She is staring pensively at the ceiling, a frown upon her brows. 

JUDY (THOUGHT):  
Eric just wants to pour drinks down my neck and get me into the sack. That's not what I want, no matter how cute he is.

I'm having a good time and making new friends, but I am not enjoying Eric or all the booze.

\-----

[caption: across town]

CEILING VIEW of NICK's futon folded out: NICK, wearing only plaid boxers, is wide awake, hands clasped behind his head, staring pensively at the ceiling.

NICK to himself (spoken):  
What was I thinking, going across town to a headbanger bar? That is not my scene.

We're meeting for lunch Thursday. And she's taken. {nngr} Not that it matters, that was only in my head for a minute.

[// we will remember the plaid pattern of his shorts; this will become relevant in episodes 8 and 12.]

\-----

NICK rolls over on his side, curled up, eyes closed.

NICK to himself:  
She's obviously not who I thought she was. So why can't I get her out of my head?

\-----

[/ end episode 2]  
[// 101 frames]

[2021 02 12 wrg]


	5. episode 3: we're not in Bunnyburrow anymore

**Summary for the Chapter:**

> Judy has competed pistol training, and realizes that Zootopia is no Utopia.

**Notes for the Chapter:**

> dramatis personae:
> 
> Judy  
> ZPD staff:  
>  Schwarzwolf  
>  Ofc. Rhinowitz [c]: rhino, male, Zoo-1  
>  Det. Abraham 'Abe' Asad: lion, male, Zoo-1 First Detectives  
>  Wolford  
>  Ofc. Benjamin Clawhauser [c]: cheetah, male, Zoo-1 desk patrol  
>  Det. Virgil Jones: cougar, male, Zoo-1 First Detectives  
> Altair Altaha: dromedary camel, male, food cart operator  
> Vance Vickers: North American mountain lion, male, bank robber and 'sleepwalker'  
> Nick

[episode 3 act 1]  
[// Wednesday]

INT. squad car on the street, SCHWARZWOLF driving. 

SCHWARZWOLF:  
I knew you'd do it, Hopps. Never doubted it for a second.

JUDY:  
That course alone was harder than all of Academy.

SCHWARZWOLF:  
'Course it is. It's supposed to be hard. 

\-----

SCHWARZWOLF:  
So your 'weekend' is coming up. Any special plans?

JUDY:  
I'm having lunch with an old friend I haven't seen in a while, a guy named Nick.

\-----

SCHWARZWOLF:   
Nick... why do I know that name? Wilde, by any chance? That guy who got dragged into the Bellwether case?

\-----

JUDY (raised eyebrow):  
I wouldn't say he was 'dragged into' it.

SCHWARZWOLF:  
I only know what the news says. His name sticks out because it's odd you two were in it together.

JUDY:  
Oh? Why is that odd?

\-----

SCHWARZWOLF:  
Well, he's... a fox.

JUDY:  
Yep. And?

SCHWARZWOLF:  
I don't expect that from a fox. They're not known to be cooperative with police. But rabbits aren't known to be cops, are they... 

\-----

SCHWARZWOLF:  
Oh! Almost forgot to tell you: I'm going to be a father!

JUDY (with a wide smile):  
Hey, congratulations! That's great! When did you find out?

SCHWARZWOLF:  
Anna told me last night. 'Course you know, this means we won't be able to hang out and play darts as much.

\-----

JUDY:  
I'll be all right, I took notes.

SCHWARZWOLF (almost amused):  
'Chuf, notes. When's the test?

JUDY:  
You tell me it's every day.

\-----

SCHWARZWOLF (grimly):  
Ain't that the truth. Be thankful we're in Buxtown where you'll see more streakers than real criminals - 

and jaywalkers. That one's yours.

\-----

EXT. street level: JUDY is writing a ticket for a male deer. 

(narrative):  
This is a world I only dreamed of when I was a child. I've always thought it was a miracle that this place even existed. 

\-----

AERIAL: Zootopia metropolis as it would be seen by a low aircraft.

(narrative):  
We're taught in Academy that it's not a miracle, it's an effort. All the magic of civil engineering aside, we're still millions of mammals.

\-----

INT. squad car:

JUDY (excited):  
You're going to be a father! Will this be your first?

SCHWARZWOLF:  
Yup. Anna's first too.

JUDY:  
Do you know how many?

SCHWARZWOLF:   
We're expecting just one, that's typical. We're both really excited.

\-----

JUDY:  
Just one, imagine that. I was one of three, that's typical for us.

SCHWARZWOLF:  
They all farmers? I mean, except you?

JUDY:  
Violet isn't, she's a behaviorist.

\-----

SCHWARZWOLF (grinning):  
A behaviorist. How many of those are needed in - where's it, Bunnyburrow?

JUDY:  
Apparently none. She got a job in the city and moved here last fall. That reminds me, I need to see her soon.

SCHWARZWOLF:  
You need a behaviorist?

JUDY:  
Hm? No, I just miss her. She's my sister.

\-----

SCHWARZWOLF (grinning):  
Right... stay nutty, Hopps.

JUDY (very slightly defensive, but also jokingly):  
Who's nutty?

SCHWARZWOLF:  
Everyone, it's just a matter of degree. Hey, you ready for lunch? Let's hit that falafel cart on Hickory.

\-----

[episode 3 act 1 scene 2]

EXT. HICKORY ST: JUDY and SCHWARZWOLF are at a falafel vendor cart run by ALTAHA. Their parked squad car, and the falafel cart, is outside the 22nd National Bank. JUDY and SCHWARZWOLF look at the radios on their hips, surprised.

RADIO:  
Z1 All units in the vicinity of 18th & Hickory: silent alarm at 22nd National Bank. 10-46 at 1820 Hickory.

*kKft Z108 copy, en route.

JUDY (surprised):  
That's right here!

\-----

SCHWARZWOLF takes the radio from his belt as he walks toward the squad car. JUDY holds up a hand to ALTAHA as to tell him to hold the order, and walks with SCHWARZWOLF.

SCHWARZWOLF to radio:  
Z119 Schwarzwolf and Hopps responding at 1820 Hickory.

\-----

SCHWARZWOLF opens the trunk of the squad car, taking out a net launcher.

SCHWARZWOLF to JUDY:  
Today just got a lot less boring, Hopps. Keep your head on.

[// a net launcher is seen in use in the first movie @ 1:02.]

\-----

OUTSIDE THE BANK: SCHWARZWOLF is crouched behind the front end of the squad car, aiming his pistol toward the bank's front door. JUDY, eyes wide, flanks him on the left, the net launcher aimed at the door (trigger finger over but not on the trigger).

SCHWARZWOLF to JUDY:  
Cover me and stay focused.

\-----

The door of the bank is pushed open by a large male mountain lion (VANCE VICKERS), retreating backward, pushing the bank door open with his back, holding a bag in one hand and a heavy semi-auto pistol in the other. SCHWARZWOLF aims at him.

SCHWARZWOLF to VICKERS:  
You! Get down NOW!

\-----

SIMULTANEOUSLY: VICKERS turns and fires at SCHWARZWOLF. JUDY and SCHWARZWOLF fire at VICKERS. 

VICKERS (shouting, crazed expression, wild eyes):  
Traitor!

\-----

SIMULTANEOUSLY: SCHWARZWOLF and VICKERS fall, JUDY drops the net launcher. 

\-----

VICKERS struggles in the net, two darts stuck in his thigh. JUDY turns to Schwarzwolf, horrified. He is flat on his back: arms out, eyes open yet seeing nothing, mouth open, tongue hanging.

JUDY (screaming):  
* **NUTS** *

\-----

JUDY holds her radio to her head with her left hand, aiming her pistol at VICKERS. VICKERS is struggling in the net.

JUDY to VICKERS (emotionlessly):  
You! don't move stay down I mean it. Z119 10-33 officer down head trauma we need medical stat at 1820 Hickory repeat 10-33 Schwarzwolf is down medic stat suspect netted and darted I need backup now.

[// her speech is robotic, her mind is on auto-pilot.]

\-----

FOCUS ON Judy, crouching on one knee next to Schwarzwolf's body: JUDY holds her pistol in her right hand while cradling his head in her left hand. JUDY'S radio is on his chest.

JUDY (still icy cool):  
This does not look good. This looks very very not good.

\-----

VICKERS flails his way out of the net and staggers off drunkenly. JUDY fires three times at him.

JUDY to VICKERS (shouting with a blank face):  
I said **STOP**.

VICKERS (over his shoulder):  
Get stuffed, grazer.

\-----

RHINOWITZ arrives. JUDY holsters her pistol and holds down the comm button on her radio.

JUDY (still emotionless):  
Z119 suspect fled west on Hickory male mountain lion 1 metre 80 100 kilos light t-shirt dark jeans darted and armed.

RADIO:  
Copy Z119. All units in vicinity respond.

*kKft Z112 copy on flash. 

\-----

RHINOWITZ runs westward down Hickory St. WOLFORD arrives, starts to move bystanders back from the scene. JUDY, still holding Schwarzwolf's head in her left hand, leans toward her radio and touches the comm button with her right hand.

JUDY (furrowed brows, still otherwise outwardly cold):  
Schwarzwolf still needs rescue where are they.

RADIO:  
Copy Z119, medic on the way. Hang in there!

*kKft Rescue M101 en route to 18th & Hickory. What are we looking at?

\-----

JUDY, still holding Schwarzwolf's head in her left hand and radio in her right hand (at a hand-span from her head), looks very stressed. 

RADIO:  
*kKft Z112 suspect sighted 17th and Plum, in pursuit. Hopps, you said he was darted?

JUDY:  
Rescue M101: trauma to head get over here. Z112 yes he was hit at least four times.

\-----

Two medics arrive, a male leopard and a female red brocket. JUDY is still holding Schwarzwolf's head with her left hand, her radio back on his chest. 

JUDY to Schwarzwolf (as if he could hear her):  
Just hang on Tom please.

\-----

DET. ASAD arrives. The medics are kneeling on either side of Schwarzwolf's body, working him. JUDY, standing back a bit with her hands behind her back, is looking at them all with a very worried expression.

ASAD to medics:  
What do we have?

MEDIC (emotionlessly, without turning around to ASAD):  
DOA. He must have been dead before he hit the ground.

RADIO:  
Z119 Hopps: medics should be on scene, how's Schwarzwolf doing?

\-----

[BOOKMARK 3-1-1: this frame]

JUDY'S face is fixed in a fierce, wide-eyed grimace as the medics lift Schwarzwolf's body onto a stretcher. Her hands are dropped to her side, soaked with blood. ASAD approaches her.

ASAD to JUDY (calmly):  
We're going to get you home, okay? I'll get someone to take you.

JUDY (coldly, through gritted teeth):  
Where is the shooter.

ASAD:  
We're on it. Go with Wolford.

\-----

ASAD taps WOLFORD.

ASAD to WOLFORD (indicating JUDY):  
Get her out of here now.

\-----

WOLFORD places a hand on JUDY'S back and guides her to his car, an unmarked vehicle with a blue EVL on the roof. The medics move Schwarzwolf's body, covered with a white sheet, into the ambulance.

\-----

INT. Zoo-1 lobby: WOLFORD and HOPPS pass the front desk.

CLAWHAUSER to both (concerned):  
Jones wants to see you two in interview 1. Judy, are you okay?

JUDY (grimacing):  
I'm fine.

\-----

INT. interview room 1: WOLFORD and JUDY enter. DET. JONES is standing against the opposite wall.

JONES:  
Hopps, can we talk about what happened?

JUDY (fierce grimace):  
Yes.

\-----

[BOOKMARK 3-1-2: this frame]

FOCUS TO JUDY looking at her hands:

JUDY (grimace, teeth clenched):   
But first I want to wash up. I - am - covered - in blood.

\-----

[caption: not much later]

INT. interview 1: JUDY and JONES are talking. JUDY is seated at the table, JONES is leaning against the wall, notepad in hand. JONES' face is calm, JUDY'S face is still fixed in a fierce grimace. Her vest is hanging open, the sleeves are unzipped from the cuffs, the bracers are off.

\-----

EXT interview 1: JUDY exits the room carrying her vest and bracers, her face expressionless. 

\-----

[episode 3 act 2]

INT. locker room: JUDY is hanging up her vest, her expression shows total exhaustion and grief. 

\-----

JUDY is in street clothes, holding her phone close to her head. 

JUDY:  
Eric? Can I ask you for a favor? I need a ride.

Oh, it's Mike's car. He's out in it? All right - What, later? Ah, bye?

\-----

JUDY pokes at her phone with her other hand.

JUDY (totally expressionless):  
Nick? Hi, can I ask you for a really big favor? I need a ride home. No I'm fine.

Great, I'm at Zoo-1. I'll explain later. Don't ask. Please, just don't ask. 

\-----

INT. LOBBY: Nick is standing at the desk.

NICK to CLAWHAUSER:  
I'm here to pick up a friend?

CLAWHAUSER (flatly):  
Mmhm I'll bet you are. Do you have a bond receipt and note of release for your friend?

NICK:  
I'm here for Judy. Judy Hopps?

CLAWHAUSER:  
Is that so. Wait here.

\-----

INT. locker room: a knock at the door. JUDY is seated on the bench, head in hands.

(VOICE THROUGH DOOR):  
Judy? There's a fox here to see you?

JUDY:  
If he's wearing a loud shirt and a tie, tell him I'll be right out.

(VOICE THROUGH DOOR):  
You're expecting him?!

\-----

LOBBY: JUDY and NICK are walking out. CLAWHAUSER is barely containing his suspicion. The other cops in the lobby are watching them both.

\-----

EXT. Zoo-1 building: NICK is walking JUDY to his car. He holds the door open for her. JUDY slumps into the rear seat.

NICK (with concern):  
Are you okay?

JUDY (blankly):  
I can't take the train today. 

\-----

NICK is at the wheel. JUDY is flat on her back in the rear seat.

NICK:  
Don't make me worry about you. What happened?

JUDY:  
I'm fine, I just need to get home. I'm in Otterdam, Ridge and B.

\-----

NICK:  
Okay... I heard on the radio, there was a shooting in Buxtown. 

JUDY:  
I can't talk, Nick. I need to get home.

\-----

NICK (concerned):  
O...kay. Don't make me worry about you.

JUDY (forearm over her eyes):  
I'm fine.

\-----

INT. JUDY'S apartment building, hallway outside her apartment: JUDY is fumbling with the keys at the door of her apartment. NICK is visibly worried.

NICK:  
Judy, what's wrong?!

\-----

INT. Judy's apartment: JUDY walks in, head down. NICK follows her in.

NICK (very worried):  
What's wrong? Talk to me.

\-----

JUDY collapses face-first into her bed. NICK stands next to her, looking very concerned.

NICK:  
Can you tell me what's going on? I'm really worried.

JUDY (face down in the bed):  
{i'm fine.}

NICK:  
You didn't get fired, did you?

JUDY:  
{no.}

\-----

JUDY is shivering a bit, clutching the pillow tightly under her chin.

JUDY (quietly):  
{eee...}

NICK:  
Judy?

\-----

JUDY is clutching the pillow to her mouth, tears at her eyes. NICK is surprised.

JUDY:  
eeeee..!

\-----

FOCUS ON Judy, shaking heavily, biting the pillow, eyes scrunched shut, tears streaming down her face. NICK is horrified.

JUDY (screaming into the pillow):  
*eeEE **eeEEE**..!*

\-----

FOCUS BACK to include them both: JUDY is facing prone on the bed, knees pulled up under her, crushing the pillow to her face. NICK is sitting on the edge of the bed, hands folded in his lap.

\-----

NICK:  
What happened.

JUDY (face deep in the pillow):  
I'll be fine. You can go if you want.

\-----

NICK:  
What do you want me to do?

JUDY lifts her head from the pillow. The hair under her eyes is wet with tears.

JUDY (squinting through the tears):  
Are you hungry?

NICK:  
Maybe. Why?

\-----

JUDY:  
There's an Italian place down the block. Their menu is on the table, Tony someone. 

NICK:  
Montoni's. Are you hungry?

JUDY:  
I should eat something.

\-----

NICK walks to the table, looks at the menu, and produces his phone. JUDY is lying lateral on the bed, holding the pillow to her chest. 

NICK:  
What 'something' should you eat?

JUDY:  
Maybe a salad. Small garden salad no olives no onions extra cucumber extra carrots house dressing on the side. Call from my phone, I have an account with them.

\-----

NICK (incredulous):  
You'll let me use your phone? 

Me. Your phone.

JUDY:  
Yes, you, my phone. You're not hungry enough to eat it, are you?

\-----

NICK picks up Judy's phone from the floor. 

JUDY:  
Why are you surprised I'd let you use my phone?

NICK:  
It's your phone. Just how much do you trust me?

JUDY:  
A bunch of cops saw me leave with you. Call it in, Nick.

\-----

JUDY'S PHONE rings: *♫♪♫, ♫♪♫

NICK (looking at Judy's phone):  
It's 'mom and dad.'

JUDY:  
I can't talk to them right now.

\-----

NICK rejects the call.

NICK:  
Who can you talk to?

JUDY:  
The folks at the restaurant, if you can't.

\-----

NICK dials on Judy's phone and holds it to an ear.

NICK (smirking):  
Hello? Oh I'm not Ms. Hopps, I'm just at her place. Delivery, please. 

A small garden - yeah her usual I guess - and two slices with mushrooms. Judy, something to drink? 

\-----

NICK looks at JUDY: she's silent, still curled up.

NICK:  
A small cola for me. Great, thanks.

\-----

NICK ends the call and puts the phone on JUDY'S bed next to her.

NICK:  
Fifteen minutes.

JUDY (holding the pillow, eyes closed):  
{thank you.}

\-----

NICK sits on the edge of the bed.

NICK:  
Who can you talk to?

JUDY (eyes are distant, unfocused):  
Who can I talk to about today?

NICK:  
I'm right here...

JUDY:  
I don't know where to start. Today was... kinda crazy. 

\-----

NICK:  
You didn't get hurt, did you?

JUDY:  
I'm fine. The vet checked me out, I'm fine.

NICK:  
This doesn't look like 'fine.'

\-----

JUDY (eyes wide open):  
I'm fine! Just don't tell me I'm being emotional. I'm not being emotional.

\-----

FOCUS ON JUDY: her face is in a scowl.

JUDY:  
Not emotional! Not today. My head is on straight.

Straight and tight. Solid as stone. Tom would be proud...

\-----

NICK:  
Who's Tom?

JUDY (eyes shut tightly, teeth gritted):  
Was. The cop who died today. Corporal Tomas Schwarzwolf. We were partners. He died in my arms.

\-----

NICK is shocked.

NICK:  
{oh my gosh}

JUDY (eyes screwed shut):  
Everything went bad every which way and I kept my head on straight. By the book. Didn't even raise my voice.

Like a stone. Straight as a laser beam.

\-----

JUDY (scowling):  
Solid. Focused. Not a flaky, moody bunny. Never let it get to you, right Nick? Right?

\-----

NICK (shocked):  
Back up: your partner died today? 

JUDY (grimacing, eyes shut, tears running):  
Yes. That was the shooting. He was shot. Died - in - my arms. He didn't have a chance.

\-----

NICK (grimly):  
He was killed. And he died, as you say, in your arms. That's what you said?

JUDY (eyes screwed shut, whispering):  
{yes.}

\-----

NICK:  
To heck with not being emotional. You're home now, have another scream or two.

\-----

A knock at the door. JUDY is still curled up on the bed.

VOICE THROUGH DOOR:  
Pizza for 103?

NICK:  
Hang on.

\-----

NICK answers the door, accepting a small pizza box and a bag from a young male mouflon, short horns curved back. Nick hands him a fiver.

\-----

NICK puts all of the food onto the table.

NICK:  
Hungry? We have a salad, what must be your usual. You said you should eat.

\-----

JUDY is seated at the table, the salad container open before her. She is dispirited: her elbows on the table, her head in her hands. Nick remains standing since there's only one chair. The pizza box is open, he has a slice in hand.

NICK (concerned):  
Did you eat today?

JUDY:  
We skipped lunch. 

NICK:  
Maybe you should eat something.

\-----

JUDY pokes at the salad, disinterested. NICK scarfs down the slice.

\-----

JUDY'S phone rings: *♫♪♫, ♫♪♫ . JUDY has a small leaf of lettuce hanging from her mouth; chewing with an expression of distraction. Without turning to NICK, she points to her phone. NICK reaches for it.

\-----

NICK is holding her phone, looking at the screen. JUDY is staring blankly at her salad.

NICK:  
Eric less-than three rabbit teacup? 

\-----

JUDY signals a 'thumbs down' as she vacantly chews the lettuce hanging from her mouth. NICK rejects the call.

\-----

JUDY (with her mouth full):  
He's another reason today isn't any easier.

\-----

JUDY, still without turning to face NICK, holds out her hand for her phone. NICK hands it over.

NICK:  
Oh?

JUDY (less lettuce hanging out of her mouth):  
I can't even begin to tell you. It's all a mess. Today is just a huge flaming mess.

\-----

JUDY (a flat expression):  
He didn't even leave a voicemail. This is not making anything better.

NICK:  
One of your friends?

JUDY:  
Yeah, a friend. I guess he's not even a friend.

NICK stares at her, a bit puzzled.

\-----

JUDY:  
He wouldn't be here even if he did have the car. That means he's not even a friend and I shouldn't have ever thought he could be anything at all.

\-----

JUDY to NICK:  
You came through when I called. He didn't even ask if I was all right.

JUDY'S PHONE rings again: *♫♪♫, ♫♪♫

\-----

JUDY answers her phone in video-conference mode.

JUDY (unconvincing forced smile):  
Cheese, it's my parents. I have to take it this time.

Hi what's up?

JUDY'S PHONE:  
Hello Judy! We just had to call you! We saw on the news, a policeman in the city was killed on - why is there a fox in your apartment? Who is that?

\-----

JUDY:  
It's Nick, I've mentioned him before. Remember the Bellwether - 

JUDY'S PHONE:  
He's in your apartment. Are you safe?

\-----

JUDY:  
Yes mom, I'm fine. As you can see, I didn't get killed today and I'm trying to eat -

JUDY'S PHONE:  
Judy, we need to talk about you living in the city! We worry about you getting hurt or worse.

\-----

JUDY (slightly annoyed):  
I'm fine, mom! You can see I'm just fine. Didn't die, the vet checked me out and he assured me that I'm not dead. And I missed lunch, so I'd like to -

JUDY'S PHONE:  
Judy, that city is crawling with predators and policemen are getting slaughtered! Your mother and I have half a mind to come for you right now!

\-----

JUDY (sternly, annoyed):  
Dad stop it. The cop who died today, and the killer, are both 'predators.' This isn't a species issue.

JUDY'S PHONE:  
We don't have those problems here! Why can't you be a deputy here at home?

\-----

JUDY:  
Because I'd never get hired and you know that. Can I please finish my lunch?

JUDY'S PHONE:  
Your father and I are worried sick about you living in that city! Please think about your own safety, for Graces' sake!

\-----

JUDY (impatiently):  
I'm really starving, can we talk later? Bye.

\-----

JUDY ends the call, angry and exhausted.

JUDY (almost shouting):  
Aagh this day is too much! All I want is someone who isn't making my life more difficult.

\-----

JUDY furiously stuffs a large amount of salad into her mouth.

(VOICE OF NEIGHBOR THROUGH WALL):  
Keep it down, we're trying to watch a movie!

NICK (indicating the wall):  
He's not helping any.

\-----

JUDY chews, angry. She looks at NICK while chewing, a few bits of salad hanging from her mouth.

\-----

JUDY's facial expression shifts to show calmness as she chews, still looking at NICK.

NICK stands silently and returns the gaze. 

\-----

JUDY calmly regards NICK after swallowing.

JUDY:  
I think I know someone who isn't making my life more difficult.

\-----

[/ end episode 3]  
[// 101 frames]

[2021 02 12 wrg]


	6. episode 4: reality bites

**Summary for the Chapter:**

> Continuing the story: after Schwarzwolf's death, Judy confronts the coarse reality of her circumstance.

**Notes for the Chapter:**

> dramatis personae:  
>   
> Judy  
> Nick  
> ZPD staff:  
>  Chief Bogo  
> Eric Coney

[episode 4 act 1]  
[// Thursday]

INT. Judy's apartment, middle of the night: the moonlight casts some light into the apartment. JUDY is curled on the bed, asleep, still wearing the clothes from the end of episode 3. NICK is sleeping, curled on the floor.

\-----

FOCUS ON Judy as she sleeps: a troubled look upon her face, her teeth are clenched.

\-----

FOCUS BACK TO JUDY and NICK in frame. JUDY bolts upright, eyes wide open. NICK snaps awake, turning to JUDY.

JUDY (terrified):  
{eep}

NICK:  
What!

\-----

JUDY clutches the pillow to her chest, one hand on NICK'S.

JUDY (panicked):  
Nothing. I'm fine.

\-----

They both curl up in their respective places.

NICK:  
It's gonna be a long night.

JUDY:  
{yep}

\-----

Sunlight illuminates the room. JUDY'S eyes are half-open.

JUDY:  
We should get up. 

NICK:  
Do you work today?

JUDY:  
No. Who wants breakfast?

\-----

JUDY gets out of bed, walks to the kitchenette. NICK remains curled on the floor.

NICK:  
Let me guess: you do.

JUDY (dryly):  
Clever fox. How do you like your tea?

NICK  
'Run through ground coffee' would be nice.

\-----

JUDY turns on an electric kettle. NICK sits up wearily.

JUDY:  
My folks always say that coffee inflames the passions.

NICK:  
I'm not gonna touch that. 

\-----

JUDY, standing in front of the kettle, stares ahead blankly.

JUDY:  
{Nuts.}

NICK:  
Hm?

JUDY:  
Everything. Just all of everything right now.

\-----

The kettle steams. Judy's phone rings: *♫♪♫, ♫♪♫

JUDY (contemplative):  
We're supposed to be having lunch today. I didn't think we'd be having breakfast.

\-----

JUDY answers her phone in video-conference mode with a phony, unenthusiastic smile:

JUDY:  
Hi mom, dad... 

JUDY'S PHONE:  
Hey there Dude! How's it going? We're going to be in the city today. How's about we do lunch?  
\--  
Oh I can't remember when we were last in the city. Can you, Stu? It must have been ages ago. Anyhow, you said earlier to call any time today. I guess that means you're free? 

\-----

JUDY rolls her eyes upward in exasperation. 

JUDY'S PHONE:  
And your sister is free for lunch too. We could make it the four of us. She knows this wonderful tea house in Little Hasenburg. The Tea Cellar, I think?

\-----

JUDY (very phony smile):  
Ah..! Mom, dad, can I take a rain check? I'm not exactly free today, I have to... do something downtown. Work-related.

JUDY'S PHONE:  
Oh is it about what happened yesterday? Your father and I worry a lot about you there.

\-----

JUDY:  
I won't ask you to stop worrying. But can I ask you to let me have my first cup of tea?

JUDY'S PHONE:  
You're just now getting up, Judy?  
\--  
It's her day off, Bonnie. Let her sleep in.

\-----

JUDY:  
Tea's steeping, mom. Can we talk later?

JUDY'S PHONE:  
Of course! I guess we'll have to catch you later. We might be in Otterdam, Violet is just down the road from you. Bye!

\-----

JUDY ends the call. She is not at all happy.

JUDY to NICK:  
I am not backing out of our lunch today, and I know just the place where my parents would never find us.

NICK:  
Where's that?

\-----

JUDY:  
Iron City Gym, the last place they'd ever go. Are you game?

NICK:  
The gym?

JUDY:  
You want to be a cop, right?

\-----

NICK:  
Well yeah...

JUDY:  
It's 10:00 now. Meet me there at noon, you're my guest. The water's up if you want tea.

\-----

[caption: noon]

INT. Iron City Gym: NICK, in his usual shirt tie & khakis and carrying a small gym bag, walks into the gym, passing the treadmills. At least half of the people in the gym are wearing ZPD t-shirts.

\-----

NICK finds the locker room, enters.

[// artistic note: the doors are marked with the 'male' and 'female' glyphs, rather than the human-shaped silhouettes.]

\-----

NICK exits the locker room, wearing a plain t-shirt and loose long shorts. JUDY enters the frame wearing shorts and a ZPD t-shirt, a towel around her neck.

JUDY:  
Ready to go for a run?

NICK:  
Cardio day?

JUDY:  
Every day is cardio day.

\-----

NICK and JUDY are standing on treadmills. JUDY is starting her machine.

JUDY to NICK:  
Have you been on one of these before?

NICK:  
Of course! Who hasn't?

[// artistic notes: in the scenes wherein Judy is running indoors, her ears do not flop behind her as there is no wind pushing them back. The treadmills are longer than those designed for bipeds, to accommodate quadrupeds running at gallop.]

\-----

NICK pokes at the controls. JUDY is already jogging. 

\-----

NICK lurches backward, flailing, off balance.

\-----

NICK grabs at the rail, barely avoiding being thrown off. JUDY turns her head toward him without breaking stride.

JUDY:  
You all right there, Slick?

NICK appears flustered.

\-----

NICK regains his balance, starts the treadmill without falling off.

NICK (embarrassed):  
Of course. Just not used to this particular model.

JUDY (poking at the controls, smiling):  
Mmkay... ready to run? Set it for 'chase.' Ready, set... Go.

\-----

They break into a sprint, still upright.

\-----

Both are in a full gallop on all fours. JUDY'S stride is a long low leap, effortless and smooth. NICK runs with some effort, panting.

\-----

The machines accelerate. JUDY'S stride is still smooth, her face showing no effort. NICK is falling behind, clearly straining.

\-----

NICK falls backward, nearly being thrown off the machine.

\-----

NICK grabs the rails, straddling the belt. JUDY continues sprinting.

\-----

JUDY regains bipedal posture and pokes at the controls. NICK is panting heavily, clearly wiped out.

JUDY (smiling):  
Looks like I got away.

\-----

They dismount the treadmills. JUDY is toweling off her ears. NICK is panting, tongue hanging at full length from the side of his mouth.

NICK:  
You do this every day?

JUDY:  
You said something about a Chinese restaurant?

\-----

INT. Bogo's office: Bogo, wearing reading glasses, is looking intently at a paper in his hand.

BOGO:  
This can't be right.

\-----

BOGO picks up his desk phone.

BOGO (annoyed):  
Asad: I'm looking at this year's Academy candidates. On the list is one Nicholas P. Wilde. I'm hoping this is an error.

\-----

BOGO:  
On the outside chance he actually passed the background checks, I want you to find a reason to get him off the list. Parking tickets, juvenile records, taxes, anything. There is no way this fox is fit to be a cop.

\-----

INT. Chinese restaurant: JUDY and NICK, in street clothes, are seated at booths. NICK is slurping down something noodly. JUDY has something with broccoli.

JUDY:  
So I'm wondering, how on earth did you pass the ZPD background checks? I'm pretty sure you're delinquent on your taxes.

\-----

NICK (smile):  
Not at all, and I have the cheques to prove it. Local, province, federal all paid to seven years back, as far as they'll audit. Revised forms too, which means my earlier forms are corrected errors.

No debts or fines on my record. Not even an overdue game rental. I'm clean as a whistle.

\-----

JUDY:  
Wow. You really want to be a cop.

You know Chief Bogo is not a fan of you, right? You're kind of a stone in his hoof.

NICK (plainly):  
He can deal with it. I'm not joining the ZPD to annoy him.

\-----

JUDY:  
Then who are you joining the ZPD for?

NICK:  
A certain kit who got turned away by the Junior Ranger Scouts. I owe him a solid. I owe all of us a solid.

\-----

JUDY:  
All of us?

NICK:  
All foxes. Everyone, really. Even you.

\-----

JUDY:  
This, from the guy who said we can only be what we naturally are, no more, no less.

NICK (leaning forward):  
Maybe I was wrong. Just like all the folks who said you can't be a cop, they're wrong too. A lot of people could be wrong about everything.

\-----

NICK picks up a large mass of noodles and dumps them into his mouth.

JUDY:  
I only hope you haven't bitten off more than you can chew. You know you'll have to be twice as good as everyone else, to be seen as half as worthy.

\-----

NICK'S cheeks bulge, noodles hang out of his mouth. His eyes are wide with panic.

JUDY:  
The first place you'll find out how much of a cop you are is in Academy. A lot of candidates get washed out every year.

\-----

NICK squints as he struggles with the food in his mouth.

JUDY:  
That will be the first test, and you can't choke on that.

\-----

NICK forcefully swallows.

JUDY (looking at her plate):  
So you need to start getting ready right now. 

\-----

NICK'S face is panicked and flushed, his hand is at his neck.

NICK:  
Whoa, that was a bit much.

JUDY (calmly):  
I wasn't worried. I've never seen a canid choke on anything.

\-----

JUDY:  
I'll give you an incentive. We meet every day at the gym: 6 PM on my days on the job, noon on my days off.

And you buy lunch or supper every day until you 'catch' me on the chase. How does that sound?

\-----

NICK stares directly at JUDY as he licks his chopsticks.

NICK (grinning, almost leering):  
You're on, Fluff. Lunch will be on you soon enough.

[// author's note: in Asian cultures, licking one's chopsticks in direct sight of another diner is an overtly lascivious gesture.]

\-----

JUDY (regarding her plate, very faint smile):  
{heh} So does this mean you're giving up your day job when camp starts?

NICK:  
Yup. Not a problem, I've got investments.

\-----

JUDY:  
Of course you do. You've been doing it for 20 years, even if you've paid off 7 years of back taxes.

NICK (defensively):  
Does your badge say ZPD or IRS? I'm settled with them.

C'mon, don't trip me up! You're on my side, aren't you?

\-----

JUDY:  
That's not the hardest question you'll get, and you can bet the ones asking the questions won't be your friends.

\-----

JUDY:  
You do know, I'm on your side.

NICK:  
I know you are. I wouldn't be asking anyone else for this.

\-----

JUDY:  
Neither would I.

NICK:  
Huh?

\-----

JUDY:  
I wouldn't ask anyone else for help.

Unless it was about work. Or personal, that would be my sister. Or... well, now I know who I can ask.

\-----

JUDY (looking down at her plate):  
Thanks for staying last night. I really appreciate it.

NICK:  
I wanted to be sure you were okay. That's not too much to expect, is it?

\-----

JUDY:  
Apparently it's too much for some people.

NICK:  
Huh?

\-----

JUDY (looking away):  
Never mind, he's nothing. Ah, it's nothing.

NICK:  
You know I would've bumped our lunch if you needed to be with your family.

\-----

JUDY:  
Not today. Mom and dad want to drag me back home. They're not thrilled that I'm a cop, especially after yesterday.

They've made it very clear that I'm in the wrong job and the wrong place.

\-----

JUDY:  
And I'm sure they wouldn't be thrilled if they knew where I was now.

NICK:  
Your folks have something against Chinese restaurants?

\-----

JUDY (deadpan flat stare at NICK):  
That's right, Nick. They don't want me hanging out with Chinese food.

NICK (unhappy):  
So they're biased.

\-----

JUDY:  
Maybe, maybe not. Either way, they both think I'm in the wrong place and the wrong job.

NICK:  
What's their idea of the right job for you?

\-----

JUDY:  
Not a cop, not here. I should be back in Bunnyburrow, married with children like everyone else. They say my life here is complicated and it's not our way.

NICK (almost sarcastically):  
Welcome to the big city, Carrots. You think you're the only one who's got a complicated life?

\-----

JUDY:  
No of course not, but my life would be more difficult if I never left Bunnyburrow. Safer, maybe.

All right, probably a lot safer. Easy, maybe. Satisfying, not so much. And definitely not Simple.

\-----

JUDY (heavily):  
Anyway, I accepted the risk when I took the badge. I just never thought the risk was so real.

\-----

NICK reaches across the table, placing his hand on JUDY'S. 

JUDY (staring at her plate):  
Very, very real. It's finally hitting me that I'm not in Bunnyburrow anymore.

\-----

JUDY looks up at NICK. He withdraws his hand from hers.

\-----

JUDY:  
Thanks for lunch. Same time tomorrow?

\-----

EXT. the Chinese restaurant: JUDY and NICK exit.

JUDY:  
Of course it's on you until you 'catch' me.

\-----

They turn to face each other. NICK absently takes one of JUDY'S hands.

NICK:  
Are you gonna be okay for now?

\-----

JUDY looks pointedly at NICK'S hand around hers.

JUDY (slight smile):  
I think I'll be all right.

\-----

[episode 4 act 2]

INT. Judy's apartment: JUDY is on the bed, sitting up against the backboard. Her knees are pulled up to her chest, her arms around her knees. She's staring blankly ahead, clearly distracted. Her phone, next to her on the bed, rings: *♫♪♫, ♫♪♫

\-----

JUDY looks down at her phone and reaches toward it with a look of disapproval. She answers it in video-conference mode.

JUDY (darkly):  
Right, Eric. We have to talk. 

Hello, Eric.

\-----

SPLIT SCREEN between ERIC and JUDY, both facing their phones:

ERIC (smiling):  
Hey, I missed you yesterday! Did you miss me?

JUDY (less than perky):  
Oh, yesterday. I got a ride, but thanks anyway.

\-----

ERIC:  
Cool. I called last night 'cause I got a great flick you might wanna see. It's -

JUDY:  
Eric, do you watch the news?

\-----

ERIC (plain, emotionless face):  
Nah, why? Did something happen? Oh yeah I saw on Faceplace, a cop got killed. Glad it wasn't you, heh.

\-----

JUDY (scowling):  
It was my partner who 'got killed.'

ERIC:  
Whoa, that sucks. Anyhow: if you wanna unwind, you gotta check out this movie. It's this - 

\-----

JUDY (impatiently):  
I'm not really in the mood for a movie tonight.

ERIC:  
Well all right, how about meeting up at the Anvil?

\-----

JUDY (annoyed):  
Not tonight, Eric. I'm not in a very good mood.

ERIC:  
Yeah I can tell. Maybe hanging out some would cheer you up?

\-----

JUDY (more annoyed):  
Not tonight, I'm not in a very good mood.

ERIC (hopeful):  
All right. Oh hey, what about Saturday? We're playing a bar in the Meadowlands, I can VIP you - 

\-----

JUDY (deadpan):  
I'll be at a funeral. 

ERIC (quizzical):  
On Saturday night?

\-----

JUDY (still flat):  
Tom was Lunist, they meet on Saturday nights.

ERIC:  
Wicked. I heard Lunist funerals are brutal. Who's Tom?

\-----

JUDY (almost angry):  
** Was**. Tom was my patrol partner. Remember I said, the cop who was killed? 

ERIC (still not getting it):  
Oh. Hey, how -

\-----

JUDY (angry):  
Eric, are you even listening?!

ERIC:  
...what am I missing here?

\-----

ERIC:  
All right, how about we just sort this out? What's bugging you? 

JUDY (with difficulty):  
Don't you see I'm upset?! 

\-----

ERIC (with some frustration):  
Yeah you're upset. Can't you see I want you to relax and clear your head? 

\-----

JUDY (plainly):  
Yes, I want to relax. I do not want to go to a bar or see a movie at your place.

ERIC (winking):  
You can come over anyway, we don't have to watch a movie... 

\-----

JUDY is dumbstruck, mouth a bit open, and clearly furious.

ERIC (uneasy):  
Ah, maybe you have a suggestion?

\-----

JUDY (containing her anger):  
How about I call you if I want to hang out.

ERIC (with that rehearsed perfect smile):  
Sure, I'll always pick up for you. Bye.

\-----

END SPLIT SCREEN. JUDY angrily stabs the 'end call' button.

JUDY to herself (sneering):  
Boys, agh... 

aagh!

\-----

JUDY (insanely angry, fists clenched, shouting at the top of her lungs):  
*aA **a** gh boys are **idiots**!*

\-----

NEIGHBORS (THROUGH WALL):  
We're not idiots!  
\--  
You're an idiot, Pronk.

JUDY is a bit surprised, eyes and ears turned to the wall.

\-----

NEIGHBORS (THROUGH WALL):  
I am not an idiot. Shut up!  
\--  
You shut up!

JUDY is annoyed.

\-----

JUDY (turning away from the wall, sotto-voce):  
{You're both idiots, please be quiet.}

NEIGHBOR (THROUGH WALL):  
You started it, meter maid!

\-----

JUDY throws her gym bag onto the bed, brows furrowed in anger and stress.

JUDY:  
To perdition with all of them. I'm going for a run.

\-----

[episode 4 act 3]

EXT. Judy's apartment: JUDY, in shorts and a t-shirt, jogs down the stairs. 

\-----

JUDY jogs into a park. In the distance is NICK and his popsicle cart, a mother and child (coyotes) as customers. 

JUDY (THOUGHT):  
There's one boy who isn't an idiot. Too bad he's complicated.

\-----

JUDY passes a father and very young child, light-colored hares. The child, a girl in a simple blue dress, is holding her popsicle with both hands. The popsicle is melting, her hands drip with thick red fluid.

\-----

JUDY unconsciously looks at her hands. She stumbles, almost falling. 

\-----

FLASHBACK TO episode 3 bookmark 3-1-2 Judy's hands

\-----

JUDY stumbles and winces as she runs.

\-----

JUDY runs along, dropping into a gallop on all fours. Her face is hardened, teeth gritted, ears flying in the wind behind her.

JUDY to herself:  
Every day is cardio day as long as my heart is still beating.

[// artistic note: when rabbits get overheated, the interior surfaces of their ears get very flushed.]

\-----

[/ end episode 4]  
[// 102 frames]

[2021 02 13 wrg]


	7. episode 5: fourteen hundred and beyond

**Summary for the Chapter:**

> Judy continues to cope with Schwarzwolf's death and Nick's increased prominence in her life.

**Notes for the Chapter:**

> dramatis personae:
> 
> Judy  
> Nick  
> ZPD staff:  
>  Chief Bogo  
>  Det. Cuzco: puma, male, Zoo-5 Rainforest District (non-speaking role)  
> Violet Hopps [c1]: rabbit, female, Judy's sister

[episode 5 act 1]  
[// Friday]

  
INT. Iron City Gym: JUDY is on a sit-up bench at a steep incline, reclining with her feet locked in, hands behind her head. (There is one empty bench next to hers, set to a very shallow incline.) She is wearing a snug tank-top instead of the loose ZPD t-shirt. NICK enters the scene in his gym gear from the last time he was there.

JUDY to NICK:  
You're late. Can you give me those weights?

[// The tank top is tight, but covers here entire abdomen right to her shorts. She has discernible abs and pecs: toned, but not bulky.]

\-----

NICK hands JUDY a pair of 5kg dumbbells from the floor. JUDY takes them into her hands.

NICK:  
Abs today?

JUDY:  
Torso. Follow me.

\-----

NICK situates himself into the bench. JUDY crosses her arms over her chest, holding the dumbbells close.

NICK:  
So what's our 'chase' today?

JUDY:  
Just keep up with me. Ready...

\-----

JUDY and NICK both sit up.

\-----

NICK appears to be straining. JUDY turns her head in his direction.

JUDY:  
C'mon Nick...

\-----

NICK flops back onto the bench, arms hanging down. JUDY continues without pause.

NICK (exhausted):  
Gimme a minute.

JUDY:  
Supper is on you today.

\-----

NICK:  
What happened to lunch?

JUDY (smiling):  
I'm meeting my sister at 14:00.

NICK (confused):  
Where's fourteen hundred?

JUDY:  
When is 14:00. Two PM.

\-----

INT. Bogo's office: BOGO is on the desk phone.

BOGO:  
That's good eyes, but working out at the gym isn't suspicious.

With who? Hopps? The rabbit, Hopps. Her? How could she not know that half the force works out there? {snort}

\-----

INT. the gym: JUDY is reclining on a weight bench, pressing a bar with matched 5kg weights. NICK is behind her in the spotter position.

NICK:  
You need 10 kilos spotted? You press like a bunny.

JUDY (almost cheerfully):  
And you run like a sloth. {I don't know if you noticed, but a lot of cops work out here.}

[// let's not forget, Judy only weighs about 25kg and is less than a metre tall (minus the ears). Pressing 40% of her weight is no trivial feat.]

\-----

FOCUS BACK to include more gym floor: JUDY and NICK continue their workout. DET. CUZCO, wearing a plain t-shirt, is seated on a bench across the floor, curling a dumbbell. His eyes are directly on JUDY and NICK.

\-----

JUDY is wiping the bench with her towel, NICK is returning the weights to a nearby rack.

\-----

As they walk to the locker room area, JUDY smiles and gives a slight wave to CUZCO. CUZCO'S eyes widen slightly, he appears to be annoyed.

\-----

EXT. the gym: JUDY and NICK are in street clothes, bags over their shoulders.

NICK:  
That puma you waved to: you know him?

JUDY:  
Nope, but I'll bet a bushel of our best that he's a dick from another house.

\-----

NICK (surprised):  
A dick? That's pretty strong language for a modest country bunny.

JUDY (laughing):  
A detective. 

\-----

JUDY:  
Are you up for supper around 6 tonight to settle our contract?

NICK (eyes up as if thinking):  
Uh, eighteen hundred? Sure. Chinese again?

JUDY:  
Surprise me. I'm up for something different.

\-----

NICK:  
O...kay. Something different.

  
JUDY looks at NICK with an expression of caution, as if giving a gentle warning. 

JUDY:  
Different, but not too wild.

\-----

JUDY walks away, waving to NICK.

NICK to himself:  
I will be so happy if I ever figure her out.

\-----

[episode 5 act 2]  
  
[caption: 2:00 PM] 

INT. a restaurant downtown: JUDY and VIOLET are seated at a table visible from the front window. The front window has the name 'fourteen hundred' stenciled in reverse, this is a VITAL DETAIL. JUDY has a fruit salad in front of her, VIOLET is eating a green salad.

VIOLET to JUDY:  
You know mom and dad are worried sick about you since that killing the other day.

JUDY (focusing on her food, avoiding VIOLET'S eyes):  
I know. I can't keep them from worrying. 

\-----

VIOLET (leaning in toward JUDY, concerned):  
How are you coping with it?

JUDY:  
Mostly by not thinking about it. I'm working out extra-hard and running a lot. That doesn't sound too crazy, does it?

VIOLET:  
Not really, but it sounds like you're trying to run away from it all.

\-----

JUDY (downcast, gritting her teeth):  
I figured it would. I am. The funeral is Saturday night and I can't run away from that.

For now, I'm just working out. Just to feel my heart beating, to remind me I'm alive.

\-----

VIOLET (an expression of concern):  
I hope you aren't working out alone.

JUDY (half-a-smile):  
I'm not, thankfully. I have a workout buddy, a guy named Nick. Great guy, a great friend.

\-----

JUDY (smiling, distant, almost dreamy):  
Nick's a great guy. Really nice. He's got these emerald green eyes, green like summer clover. Mmm... yeah a great guy. Nice eyes.

VIOLET (enthusiastically):  
Oh, do tell...

\-----

JUDY (smiling, still dreamy):  
Ginger coat, really fluffy. Fluffy all over.

VOILET (mildly surprised):  
Ginger? I'm guessing he's a hare from the Hebrides?

JUDY:  
Hm? He's a fox.

\-----

VIOLET (pointedly):  
This sort of thing is why mom and dad worry so much about you.

\-----

[episode 5 act 3]

INT. Nick's apartment: Nick is sitting on the couch, hands folded in his lap, staring off into nowhere.

NICK to himself:  
Something different, she said. I'll say this is something different. This vixen is back to being in my head 24/7!

{nnr} Huh, vixen. A doe? No that's a deer, a female deer.

\-----

NICK (eyes rolled up, deep in thought):  
Uh, tonight. We already had Chinese, and I'm not in the mood for a salad bar. Pizza's an option, who doesn't like pizza?

Oh right, dairy. Focaccia, we could both eat that.

\-----

NICK has his phone to his head.

NICK:  
Hi! You want something different tonight, right? Do you like Italian?

Focaccia: how about we do that?

\-----

NICK (surprised and a bit indignant):  
Focaccia! It's like pizza but without cheese. What did you think I meant?!

\-----

NICK (laughing):  
What? No it's nothing like that! Really, what kind of a guy do you think I am?

\-----

NICK:  
Oh I dunno. Maybe a movie? There's that new cop flick that just came out at the Midtown.

Okay, not a cop movie. Drama, then? They're showing a Hitchbuck classic at the - okay no thrillers.

\-----

NICK:  
Mmhm, mmhm... well at least we agree that this season's movies all stink. Still want to see a movie?

Sure we could stay in but I didn't see a TV at your place.

\-----

NICK (absently looking toward his TV console):  
Yeah it's 70cm across and I have Pixflix Premium.

Uh, we could... no, it's not a problem at all. Okay, see you at 6.

\-----

NICK's phone is face-down on the coffee table. He bends forward, elbows on the table. He grasps both ears, his muzzle facing downward.

NICK:  
She's coming here to watch a movie. Not a big deal, right?

\-----

INT. Judy's apartment: Judy is sitting on her bed, back against the wall. Her phone is on the bed, facing down.

JUDY:  
I really have to get some things in here, maybe a small TV or some art.

I wonder why Nick sounded so bent up...

\-----

FOCUS ON JUDY'S FACE: JUDY raises a finger to her chin.

JUDY:  
Oh my goodness, I hope he doesn't think tonight is some kind of date.

Nah, no way he could think that. We're just friends! Besides, he's complicated.

\-----

JUDY'S brow furrows in deep thought as she puts on a runner's waist pack.

JUDY (worried expression):  
Too much thinking, time to go for a run.

\-----

EXT. Judy's building: Judy runs down the steps, the pack on her waist just above her tail. She's in shorts and a plain light blue t-shirt.

JUDY to herself:  
Run now, think later. I'm not going to waste my day off thinking about crazy complicated stuff.

\-----

[episode 5 act 4]

EXT. the park Judy was running through before, distant view: a dark silhouette of Judy running, the sun casting her completely in shadow.

[// artistic rendering: still framed by the sun, this view of Judy has her cast in a dim shadow but still with discernible detail.]

\-----

DISTANT VIEW: Still framed by the sun, JUDY easily does a two-hand running vault over a picnic table.

JUDY (THOUGHT):  
Forever. I will run to the Sun and back, forever.

[// in free running and parkour, this is often referred to as a kong vault.]

\-----

JUDY runs through a parking lot, effortlessly vaulting and leaping over every car. Her face is locked in grim determination.

JUDY (THOUGHT):  
Chase the Sun across the sky.

\-----

EXT. city streets: JUDY is running headlong in the residential area, passing many pedestrians, jumping over or through everything in her path. Her face is still grim. In the distance, a bell tolls the hour. JUDY turns her head toward the bell, ears perked up.

JUDY to herself (alarmed):  
Six! I forgot about Nick!

\-----

INT. Nick's place: NICK is pacing, a troubled expression on his face.

NICK:  
6:15 and she's not here. Am I disappointed or relieved?

\-----

A knock at the door: NICK, surprised, turns toward it.

\-----

NICK opens the door. JUDY is leaning into the doorway, exhausted, panting, ears low and flushed. 

JUDY:  
I know I'm late, sorry.

NICK:  
You look wiped out. Come in!

\-----

JUDY slumps into the couch, exhausted. 

NICK (concerned):  
Did you run here?! The train is two blocks away. Uh, something to drink?

JUDY:  
I was on a run, I guess I just didn't stop. Water or whatever's cold that isn't beer.

\-----

NICK looks into the mini-fridge in the kitchenette, pulls out two cans.

NICK:  
A can of cider?

JUDY:  
That's perfect. Don't open it.

\-----

NICK hands a can to JUDY; she presses the unopened can into one of her ears. NICK is watching, curious. JUDY'S expression shows relief.

NICK:  
Oh, that makes sense.

\-----

JUDY leans back into the couch, holding the can to her other ear.

NICK (disbelief):  
Did you run here from your place?

JUDY:  
I lost track of the time. Did you get the fucka-whatsit?

\-----

NICK pokes his phone with the thumb of one hand, placing the other can of cider onto the coffee table with the other hand.

NICK:  
I just ordered it now. I didn't know what to do when you weren't here at 6.

What are you in the mood for tonight? It's your choice: comedy, musical, animated..?

\-----

NICK sits on the couch, holding the remote.

NICK:  
Let's see movies: drama, drama, sci-fi drama, cop movie, thriller {rom-com nope} animated, another drama -

JUDY:  
Back up one. 

NICK:  
The rom-com?

\-----

JUDY (smiling, pointing at the screen):  
The cartoon. I've loved that movie since I was a child. How about that one?

NICK (smiling):  
Sure, why not. 

\-----

JUDY takes the can from her ear and opens it.

NICK:  
Feeling a bit nostalgic?

JUDY:  
It's easy viewing, even if it's just an insipid musical. I don't want to think too much right now.

[// cross-ref: first movie 0:31:40]

\-----

NICK opens his can as JUDY takes a sip from hers.

NICK:  
I'm fine with that.

\-----

JUDY puts her can down, eyes wide.

JUDY:  
You said this was cider. It's apple wine.

NICK:  
You call this 'apple wine?' Huh, I guess things are different in the country. I hope it's not a problem?

JUDY:  
It's not a problem now that I know it's hard.

\-----

NICK examines his can.

NICK:  
3% is hard?

JUDY:  
It's just not what I'm used to as 'cider.' Really, it's not a problem. 

\-----

NICK:  
You don't drink?

JUDY:  
Not much anymore, but let's not think about that.

\-----

NICK takes a sip from his can and stares dead ahead at the TV. JUDY sits up crosslegged on the couch, ears straight up and perky.

NICK (dryly, sotto-voce):  
{This is me shutting up and not making you think.}

JUDY (big smile):  
I haven't seen this in ages. I could watch it a hundred times.

\-----

[begin montage:]

They're watching the movie, as in frame above.

\-----

There's an open pizza box on one end of the coffee table; they're still watching the movie. 

\-----

[bookmark 5-4-1]

The room lighting is much dimmer. Less focaccia in the box. 

[// artistic rendering: since this frame and following frames are all with the aspect of Judy and Nick being front and center with the coffee table in front of them, the TV is the primary source of ambient light, and that light illuminates them in a diffuse, wide light while the rest of the room is cast into relative darkness.]

[/end montage]

\-----

JUDY'S head is inclined forward and leaning toward (but not quite touching) NICK, her ears limp, eyes nearly closed.

NICK:  
That was fun. I remember how much I liked it when I was a kit. Good choice. 

It's only 8:30, wanna see another one?

\-----

JUDY slumps into NICK'S shoulder, asleep: *z

NICK (eyes rolled to look at JUDY):  
Judy?

\-----

ROTATE VIEW 180º, from just behind NICK'S futon: NICK picks up the TV remote and tunes in a sportsball game as JUDY sinks against him. They are in stark silhouetted contrast since the TV is the only light source in the room. 

NICK:  
I guess she needs the sleep...

TV:  
/* typical sportsball chatter goes here */

\-----

[episode 5 act 5]  
  
[caption: many hours later]

INT. NICK'S APT, same framing as bookmark 5-4-1 in daylight cast through a window: The nearly empty pizza box and 2 empty cider cans are on the coffee table, with the TV remote. JUDY is curled up on the couch, asleep. NICK is curled up on the floor between the couch and the table, asleep: *zzz...

\-----

JUDY'S eyes open wide in surprise. NICK remains asleep.

\-----

JUDY, still curled on the couch, reaches down and gently pokes NICK.

JUDY (whispering):  
{Nick.

  
...Nick!}

NICK (groggy):  
{rrr} what.

\-----

NICK sits up on the floor, not really awake, rubbing his eyes.

NICK:  
Good morning?

JUDY (sheepishly):  
Aah... 'morning. I must have fallen asleep?

\-----

JUDY (uneasily):  
Er, did anything... happen last night?

NICK (still groggy):  
The Rockets won, 9 to nothing in a shut-out. 

JUDY:  
What? I don't remember watching a game!

NICK:  
I watched the game, you slept.

\-----

JUDY sits up, 'face-palm' gesture, clearly disturbed.

JUDY:  
This is totally not me. Please tell me this is a dream.

NICK (fully alert):  
No you're awake. Do you have work today?

\-----

JUDY looks at her phone, still looking worried.

JUDY:  
Yes, in two and a half hours. I should get going.

NICK:  
I could make you some coffee, put it in a travel mug for you.

JUDY:  
Thanks but I am wide awake.

\-----

NICK walks to the kitchen area and loads a capsule-type coffee machine. 

NICK:  
I could give you a ride home. Better than waiting for a train, they're on the weekend schedule. I could get you to your place in ten minutes.

JUDY (worried):  
I think I should be going home right now.

\-----

NICK starts the coffee machine. JUDY is anxiously strapping on her pack as if she's ready to run straight home. Her posture is rigid and alert; she sits almost at the edge of the couch.

NICK:  
The trains are half an hour apart until 7, and I'm sorry I don't have any tea. Maybe the quickie mart on the way has some...

JUDY (nervous):  
Nick, I should get going right now.

NICK:  
And I think you should relax right now.

\-----

NICK turns to JUDY. She is clearly upset.

NICK (bluntly):  
You fell asleep, no big deal. You conked out, I watched a game, the end.

JUDY:  
That was not my plan!

NICK:  
Wasn't mine either, but I didn't have any plans after the movie.

\-----

JUDY (upset):  
This isn't what I do! I'm not that kind of girl!

NICK:  
We're two friends watching a movie and that's exactly what happened.

\-----

NICK takes his coffee cup from the machine and takes a sip. JUDY'S elbow is on her thigh; she inclines her head, pinching the bridge of her nose, trying to not freak out.

JUDY (stressed):  
{agh} Please don't make me think.

NICK:  
I don't see much to think about. But that's just me, I'm not the one freaking out.

JUDY:  
I am not freaking out!

\-----

NICK sets his cup on the coffee table.

NICK:  
Of course you aren't, there's no reason to. You're not a flaky, hysterical bunny.

JUDY turns sharply to NICK, eyes wide.

JUDY (defensively, angry):  
I don't think I said 'hysterical.'

\-----

NICK sits down next to JUDY.

NICK (calmly):  
So you do remember Wednesday night.

JUDY (fully angry):  
Yes of course I do! What's that got to do with anything?

NICK:  
It's got everything to do with this.

\-----

NICK:  
You were in pretty bad shape when you fell asleep Wednesday night, but you knew I was still there.

JUDY:  
I didn't pass out drunk that night!

NICK:  
Half a can of 3% cider gets you pass-out drunk? I don't think so.

\-----

NICK (sipping the coffee):  
You wouldn't be able to sleep if you didn't feel safe, would you?

JUDY (eyes rolled toward NICK, not at all angry or stressed):  
No of course I wouldn't.

NICK:  
Let that sink in.

\-----

JUDY is relaxed, her hands in her lap. Her face shows sudden awareness as if by epiphany. NICK smiles widely, a benevolent expression.

JUDY (thoughtfully, eyes wide):  
You're probably the safest fox I know, come to think of it.

NICK:  
Probably safer than some rabbits you know.

JUDY:  
Oh yes, definitely.

\-----

JUDY'S face is entirely relaxed.

JUDY:  
I do want to go home so I can brush out and change before I go to work, could you give me a ride?

NICK:  
Of course, just let me get to the bottom of this cup. It's not a day until I've had coffee.

\-----

NICK tilts back the mug and downs it all. JUDY, as always, is amazed by how much canids can consume at once.

\-----

NICK (licking his chops):  
Ready when you are.

\-----

EXT. NICK'S building, his car parked in front. JUDY and NICK get into the car.

\-----

NICK revs the engine.

NICK:  
Thank you for flying Wilde Airlines, I'll be your pilot today. Please fasten your seatbelt and lock your snack trays in the upright position.

JUDY:  
You're counting on me not writing you a speeding ticket, aren't you.

NICK:  
I don't see a ticket book anywhere.

\-----

NICK'S CAR tears out into traffic, burning rubber. JUDY braces, putting her feet on the dash and clutches at the edge of the door. Her ears flap in the wind behind her.

NICK:  
Mind the dash, please.

JUDY (alarmed, clenched teeth):  
See, that's what coffee does to you!

\-----

NICK smiles, eyes still on the road.

NICK:  
I assure you, I am no more 'passionate' than my usual.

JUDY (alarmed but composed):  
Then this is your usual.

NICK:  
It's like you know me, Fluff. 

\-----

JUDY takes her feet off the dash.

JUDY (calm, a bit snarky):  
You're something else, mister.

NICK:  
Says you. You can say I'm crazy, but you can't say I'm wrong.

JUDY:  
No argument there, at least not about the 'crazy.'

\-----

JUDY (uneasily):  
Listen, I'm sorry I kept you off your bed last night.

NICK:  
It's still not a problem. I'm getting used to sleeping on the floor when I'm with you.

\-----

NICK:  
So, the gym at 6?

JUDY (somber):  
Not today, Tom will be remembered tonight.

\-----

NICK looks dead ahead, a grim expression.

NICK:  
Oh. Lunist funerals are rather intense, in case you've never been to one.

JUDY (very somber):  
So I've heard. Turn right at the light.

\-----

NICK takes the turn quick and tight: JUDY'S ears flop in the wind as she leans to the left. NICK leans into the turn, head turned to the right.

JUDY:  
You could get paid to drive like this! Why aren't you a race car driver?!

NICK:  
Because I don't want to die young.

\-----

NICK screeches to a halt in front of Judy's building. She lurches forward in her seat, the seat belt is taut. JUDY'S hands are on the dash, bracing her.

JUDY:  
Worried about causing an accident?

NICK:  
Worried about someone else causing an accident. And we have landed at our destination, first class may now disembark.

\-----

JUDY opens her door and turns to get out of the car. Her left hand is on the seat, close to the center console.

JUDY (head turned to NICK):  
Thanks for last night. We should do that again some time.

\-----

NICK reaches past the stick and places his hand on JUDY'S.

NICK:  
Soon, okay? Maybe some way that ends ends with me not sleeping on the floor?

JUDY (mildly surprised):  
{whoa.} Heh, yeah not on the floor. We'll make that a goal, all right?

\-----

They both look at their hands, JUDY'S under NICK'S.  
  
JUDY (smiling):  
You really are something, Nick.

I'm not sure what you are but you're definitely some thing.

\-----

JUDY exits the car and turns to NICK with a small wave.

JUDY:  
I'll call when I can.

NICK waves back.

\-----

IN TRAFFIC, VIEW OF NICK from the hood of the car: NICK is driving with his left hand on the top of the wheel, his right hand out of view on the stick.

NICK:  
Hah! She knows she likes me. 

\-----

TRAFFIC, VIEW OF NICK'S CAR at 3/4 angle, including other vehicles.

NICK:  
Maybe I like her. Not sure I'd say it just yet, but there it is. Maybe I do.

And I don't know what I'd do if she ever said it to me.

\-----

[/ end episode 5]  
[// 99 frames]

[2021 02 13 wrg]


	8. episode 6: requiescat in pace, frater noster

**Summary for the Chapter:**

> Judy returns to work after two days off. Her day ends with a very somber and intense funeral.

**Notes for the Chapter:**

> dramatis personae:  
>   
> Judy  
> ZPD staff:  
>  Chief Bogo  
>  Clawhauser  
>  Delgato  
>  Rhinowitz  
>  Det. Asad  
>  Det. Jones  
>  Otieno  
> Doug Ramses [c]: sheep, male, villain  
> Nick

[episode 6 act 1]  
[// Saturday]

INT ZOO-1 BULLPEN: BOGO at the lectern.

BOGO:   
Next item: there is no actual increased number of streakers in Zootopia, as has been reported in the news. There was only one reported incident, a patron of the Mystic Spring Oasis who forgot to get dressed before leaving.

Some snickering can be heard.

\-----

BOGO:  
I'll presume that was a one-off and we can expect no more than our usual number of public nudists.

Lastly: Tom Schwarzwolf's funeral will be at the Fain at sunset, see Clawhauser if you need to know more.

\-----

BOGO:  
On to assignments: Fangmeyer and Wolford to resume split patrol in Buxtown. Snarlov and Grizzoli, talk to Detective Jones before going out. Delgato, you're solo on your beat for now. Hopps, come to my office after roll-out. Everyone else, your current assignments.

\-----

VIEW FROM behind JUDY, facing the lectern. JUDY raises her hand about to head-level.

BOGO:  
Any questions?

Anyone besides Hopps? Dismissed.

\-----

INT. BOGO'S OFFICE: JUDY and BOGO enter. JUDY is not at ease.

BOGO:  
Have a seat, Judy.

JUDY:  
This can't be good if you're calling me by my name.

\-----

LATERAL VIEW: JUDY is in the chair in front of the desk, BOGO is seated in his chair. 

BOGO (hands folded before him on the desk, sincere expression):  
How are you feeling today? 

JUDY (not at ease):  
I'm fine. Really. Can I ask what this is about?

\-----

FOCUS TO BOGO:

BOGO:  
I have an interest in how our officers are doing. I have to ask, you know.

I want you to be honest: how are you feeling today?

\-----

FOCUS BACK to include both:

JUDY (apprehensively):  
I want to know if you would be asking anyone else in the squad how they're feeling. Are you asking them, or just me?

BOGO:  
Right now I'm asking you.

\-----

JUDY (defensively):  
Why just me? Is it my species that's an issue here?

BOGO:  
Give me more credit than that. And to yourself, while you're at it. I'm asking because you were Tom's partner and this also happened to you.

\-----

FOCUS TO JUDY:

JUDY (nervously):  
What am I supposed to say? I'm dealing with it in my own way. This isn't the first time I've had to deal with someone dying, so I'm... dealing with it.

I came to work today, didn't I?

\-----

FOCUS BACK to include both:

BOGO:  
Then I won't press the issue. Now, we should talk about what happened on Wednesday.

All of the radio recordings and field reports have been reviewed. As far as anyone can see, you did everything by the book to the letter.

\-----

JUDY:  
That's what I should have done, right? Is there any other way I should've handled it? 

BOGO:  
You did everything you could have, and nothing you shouldn't have. As I said: by the book to the letter, while under heat, and I expect no less.

\-----

JUDY:  
Then how did the perp get away if I did everything right? I darted him at least twice and I know hit him.

BOGO:  
All three of your darts were recovered, and they all delivered. The other darts were tested, they're potent.

\-----

BOGO leans in toward JUDY. JUDY is a bit alarmed.

BOGO:  
And there isn't much more I can tell you, it's still under investigation. But you did dart him three times. Not only did you do the right thing, you did it very well.

\-----

JUDY (eyes wide, serious expression):  
So how was he able to get away?

BOGO:  
That's all I can tell you, and I'll ask you to not discuss this with anyone except Detective Asad.

JUDY:  
This isn't an ordinary robbery, is it.

\-----

BOGO (sternly):  
We're working on it. You're not to discuss this matter with anyone outside the department, is that clear?

JUDY (solemn):  
Yes sir, of course.

BOGO:  
Good. Go find Delgato and join him. Dismissed.

\-----

INT LOBBY: JUDY passes the desk, opening her mouth to ask CLAWHAUSER where DELGATO is.

JUDY:  
Hey Ben, where -

CLAWHAUSER:  
Park district. You're Z103 walking today.

\-----

JUDY keeps walking, not even breaking stride.

JUDY (bewildered):  
Thanks?

CLAWHAUSER (smiling, one hand on the microphone):  
One step ahead this time. Z102, Hopps is coming at you.

\-----

EXT. downtown streets, 500 block of Park St: JUDY on foot.

JUDY:  
Not at the doughnut shop...

RADIO on Judy's belt:  
Z102 8th & Park, robbery suspect male cheetah 1 metre 60 light tank top and dark running shorts, armed and darted, headed east on Park 10-43!

*kKft Darted? Did you hit him?

\-----

JUDY runs west down Park street, radio in hand, eyes wide. Pedestrians scatter.

JUDY:  
Z103 Hopps at 5th and Park, headed west.

RADIO:  
Hopps, he could be headed right at you!

\-----

VIEW FROM BEHIND JUDY as she runs: half a block away, a cheetah matching the description runs directly at her, looking back over his shoulder as he runs. JUDY holsters her radio.

JUDY:  
This must be him!

\-----

VIEW TO lateral focus: JUDY jumps directly at a building wall at an angle, extending one leg forward ahead of her to meet the wall about 1.5 metres off the sidewalk. The running cheetah approaches, still looking over his shoulder. Pedestrians scatter. 

\-----

JUDY banks off the wall and dives directly at the cheetah's neck, arms extended wide. The cheetah turns his head toward her, surprised.

\-----

JUDY wraps both her arms around his neck as she swings around him, toward the sidewalk, throwing the cheetah off balance. The cheetah stumbles hard, his face expressing shock.

\-----

Both of them hit the sidewalk. JUDY lands, both legs down in almost full flexion. She is bent forward, her arms still around the cheetah's neck. The cheetah has totally crash-landed, arms extended ahead of him on the sidewalk, knees and torso down. His head is just above the ground, his expression a mix of anger and pain.

\-----

JUDY straddles the CHEETAH'S torso just under his arms, grabs the loose skin on the back of his neck with both hands and yanks it directly upward (as in scruffing a cat). The cheetah's face goes from anger to near paralysis, eyes crossed.

\-----

FOCUS BACK to include a wider view: the cheetah is struggling weakly against JUDY'S scruff hold. DELGATO is running toward them.

CHEETAH:  
Get your paws off me you grazer!

JUDY:  
Hold still!

\-----

DELGATO arrives. JUDY has one knee on the CHEETAH'S neck, still stretching his scruff.

JUDY (teeth gritted):  
Little help here please!

DELGATO (excited):  
Right on you, Hopps!

\-----

The CHEETAH is in handcuffs. DELGATO is holding the CHEETAH'S wrists high, a knee on his waist above the hips. JUDY is standing in front of the CHEETAH, one foot on the back of his head.

CHEETAH (face into the sidewalk):  
äcCh you hecking traitor!

DELGATO to CHEETAH:  
Shut your maw or you'll get bagged.

JUDY to radio:  
Z103 6th & Park 10-48 we need a ride please, this one's a wiggler.

[// about the cheetah's exclamation: it's written as a hard achlaut, hopefully to be interpreted by the reader as a guttural hissing sound. This will be used with other feline characters.]

\-----

INT. ZOO-1 LOBBY: RHINOWITZ, DELGATO and HOPPS are perp-walking the CHEETAH. The CHEETAH has a thick bag over his head in addition to his hands being cuffed behind his back. RHINOWITZ is leading him with a choke pole around the neck. DELGATO and HOPPS are on either side of him, their arms through his elbows. The CHEETAH is struggling wildly. JUDY'S feet are barely touching the floor.

RHINOWITZ (shouting):  
We need a tortilla, it's burrito time!

CHEETAH:  
äcCch traitors, all of you!

\-----

Three cops show up, COP1 and COP2 laying a large thick blanket on the floor. COP3 cop is holding a dart pistol with both hands, aimed toward the CHEETAH. RHINOWITZ, DELGATO and HOPPS are forcing him to his knees, toward one end of the blanket.

[// the cheetah is going to get burrito-wrapped in the blanket, as one would a fractious cat. The depiction of Cops 1, 2 and 3 is entirely at the discretion of the artist.]

\-----

RHINOWITZ and HOPPS force the CHEETAH face-down into the blanket as DELGATO, COP1, COP2 pick up the edges of the blanket.

DELGATO to COP3:  
You can put that away, it won't do anything. I hit him twice.

COP3 is surprised.

\-----

RHINOWITZ, DELGATO, HOPPS, COP1 and COP2 roll the CHEETAH into a burrito, his bagged head sticking out the end. 

COP3 to DELGATO (very surprised):  
You hit him twice? How is he still conscious?

RHINOWITZ (shouting to CLAWHAUSER):  
Get Bogo on the phone, we got another sleepwalker. 

CHEETAH:  
{hecking traitors}

CLAWHAUSER, surprised, picks up the phone.

\-----

FOCUS BACK to include more lobby as DELGATO, COP1, COP2, COP3 carry the cheetah-burrito toward the desk.

CLAWHAUSER on the phone:  
Chief? We have another sleepwalker, he took two darts and we still had to wrap him.

Right, got it. 

\-----

CLAWHAUSER pokes at his phone as he looks at Rhinowitz.

CLAWHAUSER:  
Chief says put him in a squeeze box and sit on him until the medics get some blood.

Hi, Zoo-1 Clawhauser here. Could you send someone over for samples?

\-----

DELGATO, COP1, COP2, COP3 carry the cheetah-burrito away. JUDY looks confused as she looks up at CLAWHAUSER from in front of the desk. CLAWHAUSER stands up and leans a bit over the desk.

JUDY to CLAWHAUSER (quizzical):  
A 'sleepwalker?'

CLAWHAUSER:  
Oh, that's someone who keeps going after getting darted. They're usually on drugs.

\-----

FOCUS TO JUDY, one finger to her chin as if in thought:

JUDY:  
This guy was running like a Tournament sprinter after two darts. Kinda like the mountain lion last Wednesday, he got darted three times...

\-----

FOCUS BACK to include them both and more lobby: JUDY stares at the floor. DELGATO approaches.

JUDY (grimly):  
{agh} Wednesday, I don't want to think about it.

DELGATO to JUDY:  
Good bust, Judy. Ready to knock out some paperwork?

\-----

[episode 6 act 2]  
  
[caption: back on the beat]

EXT. Watering Hole Park: JUDY and DELGATO are walking through the park. DELGATO is holding half a doughnut, JUDY is carrying an empty chips bag.

DELGATO to JUDY:  
That's the second one in a week.

This guy was different. I've seen sleepwalkers but they're crazy, like savage crazy. This one was... still making sense, you know?

JUDY turns to him, listening.

\-----

DELGATO:  
Do you remember your guy from Wednesday? Does anything come to mind?

JUDY:  
Ray, what's a 'grazer?'

DELGATO (surprised, showing disgust):  
Whoa, that means 'ruminant.' It's not a nice word, really speciesist.

\-----

JUDY:  
Both perps called me that. And mine called Tom a 'traitor.'

DELGATO (contemplative):  
Our perp called me a traitor too. Oh yeah, I'd better put that in my report.

\-----

JUDY:  
Why would you and Tom be 'traitors?'

DELGATO'S eyes widen as he stares ahead, slightly baring his teeth.

DELGATO (nearly snarling):  
Let's not go there.

\-----

INT. ZOO-1 interview room 1: the cheetah from earlier is in a chair at the table, his hands cuffed and bound to a ring bolt in the table. An area on his forearm is shaven, a bandage on it. ASAD and JONES are leaning against opposite walls, holding clipboards. The blinds on the window are down.

ASAD to the CHEETAH:  
Welcome to the Zoo! What brings you here today?

The CHEETAH glares at Asad, angry.

\-----

JONES to ASAD (looking at his clipboard):  
The paperwork says a rabbit brought him in. Ain't that something.

ASAD (incredulous):  
Really, a rabbit? That's weird; this guy doesn't look drunk. Even still, how big do rabbits get?

The CHEETAH glares furiously, still silent.

\-----

ASAD to CHEETAH:  
It must be the drugs. Do you want to tell us what they are, or do you want us to wait for the lab to tell us?

The CHEETAH glares silently.

\-----

ASAD to CHEETAH:  
You know this is serious, don't you. Tell me about that gun of yours, it looks like an old pistol from the War.

CHEETAH:  
It's an antique so it's legal.

\-----

JONES to ASAD:  
He might be right about that, it is over 90 years old.

CHEETAH (smug):  
And..! I didn't actually take anything from that jewelry shop so you don't have me for robbery either.

\-----

ASAD (looking at his clipboard, reaching for the doorknob):  
I'll be right back.

The CHEETAH smiles in smug satisfaction. ASAD exits.

\-----

EXT. INTERVIEW 1: BOGO is leaning against the wall outside the door, arms crossed.

ASAD to BOGO (smiling):  
I just love it when they turn down a lawyer.

BOGO:  
This one's doing all the work for you, isn't he.

\-----

INT. INTERVIEW ROOM:

CHEETAH to JONES:  
Häh, I thought so! That guy doesn't have a thing on me and he knows it.

He needs to go check himself in the mirror. Does he even know who he is anymore? We weren't always sharing our homeland with talking lawnmowers, you know.

\-----

JONES (focusing on his clipboard):  
Mmhm, it wasn't always like this.

CHEETAH:  
Oh I know, man. I may not be old enough to remember, but I know history.

Our history, and our natural place in society.

\-----

JONES:  
It must really burn you, getting busted by a bunny.

CHEETAH (with chagrin):  
{äcCh} don't remind me. Getting chained up by that traitor didn't help any.

Too many like him around here. This city changes people.

\-----

EXT. INTERVIEW 1: BOGO and ASAD are standing at the window, listening to the speaker on the wall.

CHEETAH'S VOICE from the speaker:  
It shouldn't be like that. How can you even work with these fools?

BOGO to ASAD (grim):  
Get him stripped and search him for tattoos and brands, top to tail. Let me know what you find.

\-----

EXT. Watering Hole Park: JUDY and DELGATO are walking around the fountain. JUDY is still carrying an empty chips bag. 

DELGATO:  
Nobody in the Watering Hole today. Usually some otters are going to town in here.

JUDY (looking around):  
Did you ever wonder why this park doesn't have enough trash cans?

DELGATO:  
Because there's no way to make a trash can look nice?

\-----

A frisbee enters the frame, headed low toward the fountain. JUDY and DELGATO see it and step back a bit.

DELGATO (laughing):  
Incoming.

\-----

The frisbee splashes into the fountain. Three children, a young Bengal tiger and two otters, dive into the fountain after the frisbee. JUDY and DELGATO get splashed, laughing.

\-----

The tiger emerges with the frisbee; the otters continue to play in the fountain. DELGATO bends, hands on knees, and addresses the children.

DELGATO to otters (smiling):  
Hey kits, did you know there's a really great pool at the Community Center? You could ask your parents to take you.

OTTER1 (innocent, as only a young child could be):  
But there's water right here, Mr. Police.

\-----

TIGER to OTTERS:  
We got our disc, c'mon let's go.

OTTER2 (pointing to JUDY'S chip bag):  
Hey Mrs. Police, what's in the bag? Is that rabbit food?

JUDY (holding up the chip bag):  
This? Yes, these are pickle Ranch cabbage chips. 

[// FYI, that is an actual flavor of potato chip.]

\-----

OTTER2 to TIGER:  
You're wrong! Rabbits don't eat grass!

TIGER to OTTER2 (humiliated):  
We got the disc let's go.

DELGATO is irritated, JUDY is shocked.

\-----

The otters exit, soaking wet.

DELGATO (annoyed):  
They didn't learn that in school. Having lunch together fixes that nonsense.

JUDY (frowning slightly):  
At least he had enough shame to leave quickly.

\-----

DELGATO:  
He knows he's wrong, he just doesn't want to hear it from anyone else.

\-----

[caption: on the wrong side of the tracks]

INT. a large enclosed locker at a storage rental: the walls are bare exposed studs and corrugated sheet steel. The illumination is by a temporary installation of drop-lamps on cords from the ceiling. It generally looks like a chemistry lab with the usual glassware, scales and so on. There is a yellow haz-mat suit and a respirator mask on a hook fixed to a joist. Several 30mL multiple-dose injectables bottles are on the table. A box labeled '100IU syringes' is on the table. A Snarlbucks cup is on the end of table next to a laptop and a scanner radio. DOUG RAMSES is on his cell phone.

DOUG:  
I hope you're calling with good news. 

[// Doug's haz-mat suit is similar to the one from the first movie, his lab in the subway car.]

\-----

DOUG (surprised):  
He's locked up?! What happened? He's the fastest guy in town and there are what, two cops in the whole park area?

\-----

DOUG:  
I know he's fast. And I know he isn't smart, never mind what he thinks he knows. College boy got a jock scholarship, probably never even went to class.

Get him out of there before he runs his mouth.

\-----

DOUG (frustrated):  
Bail him out with money from the bank job! Cruds, do I have to do all the thinking for you?!

\-----

DOUG:  
Yeah yeah I'm sure that'll set the 'budget' back some. Get someone to find out when he'll be arraigned.

Now tell me about Wednesday.

\-----

DOUG:  
Acting stupid all night, then sore and hungover all morning. So, no worse than half the city on a weekend. 

Better than waking up in a cage, right?

\-----

DOUG:  
Now? Sure, we can do 'now.' But the price just went up since you know it's good.

Think of it as an investment: one dose of that juice is worth all the money in the bank.

\-----

[episode 6 act 3]

INT. BOGO'S OFFICE: ASAD and BOGO are both standing at his desk, examining folders of papers laid out on the desk.

BOGO:  
I'm surprised we have a written report from Hurriet so soon.

ASAD:  
She has a grad student working with her, maybe he takes dictation.

BOGO:  
Good, let's keep him on for a bit. And thanks again for asking for a written report rather than a call, I'm not at all patient these days. What do we have?

\-----

ASAD (looking at one of the papers):  
First, the tox report on the blood: it's a mix of amphetamine and drugs used to reverse anesthesia. Basically an antidote for the drugs used in tranq darts.

\-----

ASAD:  
Our perp was full of the stuff when we got the samples. Apparently it can prevent the effects of the darts. I guess it's also a stimulant, seeing how much of a fight he put up.

\-----

ASAD:  
On to the weapon: the gun is an 'antique' from the War, but the workings are new. So it's not just a collector's item, it's a working firearm.

BOGO:  
It would still be a high crime even if it wasn't working. Firearms can't be carried without a license.

\-----

ASAD:  
You know that, I know that. This guy thinks he knows better than us, right?

Oh, about him: he graduated from Western last year. He was a pick for the last Tournaments but got dropped right before the games.

\-----

BOGO:  
Really. Why?

ASAD:  
I'm waiting to hear back from Western. I looked up his stats and this guy could have been a medalist. He didn't get dropped because he can't run.

\-----

BOGO:  
Put a pin on that, there may be more to it. Find out why he got dropped.

ASAD:  
Oh, more about the gun: the ballistics match up with the slug recovered from Tom.

\-----

BOGO (very grim, with contained anger):  
That gun was used to slaughter Tom.

ASAD (equally grim):  
That's what it looks like.

\-----

BOGO:  
I'll call the Prosecutor. This isn't just a robbery if it's connected to a murder.

ASAD:  
There's more and you're not going to like it.

BOGO:  
How could this possibly get any worse!

\-----

ASAD and BOGO are standing next to each other, facing the viewer. ASAD shows BOGO a print from one of the folders.

ASAD:  
This is a tattoo on his arm. It's hard to see through the spots, but there it is. 

BOGO'S expression shows disgust and anger.

[// in this frame, the viewer does not see what is in the photograph; only the back of the page is visible.]

\-----

FOCUS TO BOGO:

BOGO (quietly, with barely contained rage):  
I thought the world was rid of them 90 years ago.

\-----

[episode 6 act 4]

INT. ZOO-1 locker room: JUDY is hanging up her vest. LAYLA OTIENO is seated on the bench, still in uniform. 

OTIENO:  
It's early yet. Sundown's not for two hours.

JUDY:  
I know. I almost have time to go to the gym and still get to the Fain on time... but I shouldn't.

\-----

JUDY hangs up her utility belt.

OTIENO:  
This isn't your first funeral, is it?

JUDY (looking downward):  
No, my grandmother passed on when I was twelve. But this is my first Lunist funeral, and my first for a co-worker. And for a murder.

\-----

FOCUS TO OTIENO: JUDY, facing her locker, unzips her shirt.

OTIENO (staring ahead at her locker):  
I been to too many funerals. Back home is not a safe place, not a lot of folks get to retire like they do here.

[// for reference: Judy's uniform shirt unzips from just left of the collar. Judy's underwear is a white tank top and modest panties.]

\-----

STILL FOCUSED PRIMARILY ON OTIENO: JUDY, seated on the bench, is pulling off her uniform pants.

OTIENO:  
At least there aren't a lot of funerals for cops.

JUDY:  
That's good.

OTIENO:  
There aren't a lot of cops. Back home is not a safe place.

JUDY'S PHONE, on the bench, rings: *♫♪♫, ♫♪♫

\-----

JUDY picks up her phone and holds it against the left side of her head between a shoulder and her ear. She is still seated on the bench, pulling on a pair of Class A slacks.

JUDY (plainly):  
Hi, I was just about to call you.

I'm all right, slow day today. Just a walk in the park, you know. How's by you?

\-----

FOCUS TO JUDY, standing in front of her locker, slacks fastened but unzipped, holding a class A shirt with her left hand. 

JUDY on her phone:  
Right, I'm headed to the Fain. I haven't even thought that far ahead, probably some takeout when I get home.

\-----

JUDY, still standing, pulls on the left arm of her shirt.

JUDY (showing regret):  
Oh that's right, you can't get in the gym without me. You can still work out today, go for a run in the park.

\-----

JUDY pulls on the right arm as she shifts the phone to her left ear. 

JUDY:  
How long? Run until you're ready to drop and then run some more. Every day is cardio day.

I'm still at work, gotta go.

\-----

JUDY is buttoning her shirt. Her phone is on the bench face down.

JUDY (unhappy):  
There goes my workout for the day.

OTIENO:  
That was your workout buddy?

JUDY:  
Yeah, workout buddy. Something like that.

\-----

JUDY is tucking in her shirt. 

OTIENO:  
Oh the fox. I don't know if you know, but folks around here talk.

JUDY:  
About what?

OTIENO:  
Mostly about each other.

\-----

JUDY is putting on the belt.

JUDY (impatiently):  
Right, and..?

OTIENO:  
Just saying: folks talk, you know.

JUDY:  
Oh I know what this is about.

\-----

The collar on JUDY'S shirt is turned up; she's fastening the necktie.

JUDY:  
I know we talk. I'd hope that today, of all days, we'd be talking about someone else.

[// the break-away tie looks like a pre-knotted tie, but the loop that goes around the neck is in two parts, connected with patches of velcro at the back of the loop. The velcro closure is covered by the collar.]

\-----

JUDY is turning down her collar.

JUDY (flatly, staring dead ahead into nowhere):  
Let's do the necessary things today and get back to gossip some other day.

\-----

EXT. the FAIN, at a distance, above ground level: The sun is low, the sky is red. Many people are walking toward the building; most of them police in dress uniform.

\-----

EXT. the FAIN, ground level: recognizable cops from Zoo-1 enter the building.

\-----

INT. the FAIN, from the back, focusing toward the chancel; at an angle to include: hundreds of mourners standing, most of them cops in uniform. In the front row of mourners, closest to the chancel, is Schwarzwolf's widow, wearing black, head covered in a black lace veil. At the front of the chancel is a cleric at a lectern. In the center of the chancel area is a shrouded body on a long dais.

[// artistic rendering: the cleric is an aged reindeer wearing a dark cassock. No religious symbols or icons are visible. The dais is pale grey stone, similar to but definitely not an altar.]

\-----

INT the FAIN, from the chancel, focusing toward the rear interior, at an angle to include: hundreds of mourners standing, most of them cops in uniform. At this angle, the focus includes large mammals, including their heads; only the top half of JUDY'S EARS are visible. The faces of all present (those whose faces are visible) have expressions appropriate for a funeral.

\-----

[caption: uptown]

EXT. the park, facing east, at a distance: the sun is setting in the west, all is cast in red. In this dim red light, NICK is jogging.

\-----

The sun is down; the mostly full moon is rising in the east. In this darkness, the moon frames the silhouette of NICK still running.

\-----

[/ end episode 6]  
[// 99 frames]

[2021 02 13 wrg]


	9. episode 7: no rest for the wicked

**Summary for the Chapter:**

> Sunday, a busy day for everyone.

**Notes for the Chapter:**

> dramatis personae:
> 
> Judy  
> ZPD staff:  
>  Chief Bogo  
>  Delgato  
>  Redfern  
>  Det. Asad  
> Altair Altaha  
> Vance Vickers  
> Nick  
> Mike Turgenev  
> L.E. Eldridge  
> Eric Coney  
> Doug Ramses  
> Jane Swinton [c3]: pig, female, Zootopia City Councilmember  
> Fabienne Growley [c]: Asian snow leopard, female, ZNN news anchor  
> Peter Moosebridge [c]: moose, male, ZNN news anchor

[episode 7 act 1]

INT ZOO-1 BULLPEN: BOGO at the lectern. Many of the officers are wearing armored vests, if not full rattle. DELGATO, sitting next to HOPPS, is in his usual uniform.

BOGO (somber):  
Once again, I'm reminding everyone to keep their eyes open and report all unusual activity. And, as always, to be careful.

Questions? Dismissed.

\-----

EXT. park district: DELGATO and HOPPS are on foot patrol near the Watering Hole Fountain. They see ALTAIR ALTAHA'S cart at the edge of the park, not very far away at all.

JUDY (indicating ALTAHA'S cart:)  
Hey there's Mr. Altaha. I haven't seen him since... Wednesday.

DELGATO (squinting in the direction of the sun):  
Lunch already? It's only 10 in the morning.

JUDY:  
C'mon, he has mint tea.

\-----

AT ALTAHA'S CART: JUDY and DELGATO are at the cart. ALTAHA is pleased to see JUDY, and is reaching into his cart for a bottle of tea.

ALTAHA:  
Miss Hopps, it's so good to see you!

JUDY:  
How are you? Aren't you usually in Buxtown?

ALTAHA:  
I don't want to be there. Will you have your usual mint tea?

\-----

JUDY is opening the bottle of tea. DELGATO isn't doing much of anything.

ALTAHA:  
I should tell you, I saw something at the bank that day. 

JUDY:  
Did you talk with the detectives?

ALTAHA:  
The Old World lion, Asad? He asked me, but I was too upset to talk.

\-----

ALTAHA (an expression of distant horror):  
I can tell you now: before it all happened, there was a black pickup truck. It stopped across the street from the bank, and the Western lion was in it. The one who killed our friend.

JUDY and DELGATO regard ALTAHA with surprise.

\-----

JUDY and DELGATO have notepads and pens in hand (of course JUDY'S pen is the carrot-pen).

ALTAHA:  
I did not think much of it, but when do you see them in Buxtown? They don't live there, isn't that right?

JUDY:  
Do you remember anything about the truck?

ALTAHA:  
It was black, with decals all over it. Skulls and strange symbols, maybe words made of twisted letters? Another language? It all looked like evil.

\-----

ALTAHA:  
The Western lion left the truck, it went down 18th, then you and our friend came.

DELGATO and JUDY to each other, simultaneously:  
Call Asad.

\-----

[episode 7 act 2]

[caption: Uptown West Junior High]

EXT. a large brick building, view of the building corner: VICKERS and a male DARK WOLF approach the wall obscured by the view. VICKERS is shaking a can of spray paint, the rattle of the can is heard. 

[// the DARK WOLF is mostly dark grey, lighter grey around his eyes and muzzle.]

\-----

VICKERS walks out of view behind the wall. A spraying sound can be heard. The DARK WOLF keeps lookout. 

\-----

Both run away from the scene as the school bell is heard. 

\-----

Children on their way out pass the wall and look at it. All are surprised, some are horrified, many take photos with their cell phones. 

[// this entire graffiti scene is rendered so that it is clear what is happening, but the defaced wall and the graffiti on it is not seen.]

\-----

[episode 7 act 3]

INT. ZOO-1 locker room: JUDY, seated on the bench, is wearing a green tank top and shorts. A small backpack is on the bench, its exterior pocket open. JUDY is putting her phone into the exterior pocket when it rings: *♫♪♫, ♫♪♫

\-----

JUDY answers the call, holding the phone in front of her.

JUDY:  
I was just going to call you. We're not going to the gym today; the chase is in Uptown Park any time after 17:00.

\-----

JUDY (smiling):  
I'll be in the park, find and catch me before sunset. No, the woods aren't off limits.

Then call me if you can't find me. Don't foxes have keen vision and an excellent sense of smell?

\-----

JUDY (mildly annoyed):  
What do I smell like? You're joking, right? I know what you smell like!

\-----

INT. NICK'S APARTMENT: NICK is sitting on his couch, wearing shorts and a tank top. His phone is on the coffee table. Smiling, NICK pumps his fist in the 'victory' gesture.

NICK (wide smile):  
YES, she knows my scent!

\-----

INT. his apartment: NICK approaches the door, hand out to the doorknob, as to exit.

NICK (with joy):  
I'll have her down by half past 6; I know her scent from a kilometre away. I'll never have to buy a meal again.

\-----

EXT. Uptown Park: JUDY, wearing a green hoodie with the hood up and over her ears, crosses the parking lot. Her backpack is on both shoulders, the belt secured loosely across her chest.

\-----

NICK enters the park, head held high, sniffing deeply.

NICK:  
Naturally, the clover has to be in full bloom right now...

\-----

NICK jogs through the grass, gaze low. 

NICK:  
Haven't seen a single clover flower yet...

\-----

NICK'S eyes widen; he is struck by sudden realization.

NICK:  
It's her other scent! 

\-----

FOCUS TO NICK, jogging as he follows his nose toward the wooded area.

NICK to himself (smiling):  
Clover doesn't grow in the woods. I'm on her tail.

\-----

FOCUS TO JUDY, upper body and head as she jogs through the woods: Her ears twitch to one side, catching her attention. Her eyes widen in surprise.

JUDY (anxious) (THOUGHT):   
Of course he knows what I smell like! It's all over his couch.

My body spray! Clover doesn't grow in the woods!

\-----

JUDY stops, kneels on the ground, takes off her backpack and finds the bottle of body spray.

\-----

JUDY unscrews the top and splashes it against a tree.

\-----

FOCUS TO NICK as he leaps from from behind a tree, pouncing with arms spread open ahead of him. His mouth is open in a wide smile.

NICK (shouting victoriously):  
Gotcha!

\-----

NICK lands on all fours, having pounced only at the tree JUDY had splashed the body spray on. 

NICK (disappointed and confused):  
What?!

\-----

NICK puts his nose close to the tree. 

NICK:  
She doped the tree. Sly bunny.

\-----

FOCUS TO NICK, jogging through the woods as the sky darkens. He looks upward, noting that the sun is setting.

NICK to himself (not very pleased):  
The chase is over just when I have the advantage. 

\-----

FOCUS TO JUDY in the parking lot, sitting on a bench. The sun is down, the thinnest sliver of red is visible in the west behind her. NICK walks into the parking lot.

NICK:  
And your hoodie has to be the same color as grass. You were not making it easy for me.

JUDY:  
It's not the same color as trees. Anyway, who said police work is easy?

\-----

CLOSER TO the two of them, as NICK sits on the bench next to JUDY.

NICK:  
I suppose you're going to tell me that every day at work is like this.

JUDY:  
We could always practice writing tickets and filing paperwork. Maybe rehearse answering the phone?

\-----

INT. a sushi restaurant, focus at the table where JUDY and NICK are seated. NICK is wearing a subdued blue Hawaiian shirt and a tie that totally doesn't work with it. JUDY is wearing a loose pink gingham check short-sleeved blouse. On the table is a bottle of sake, a bottle of soy sauce and a small narrow vase with a single chrysanthemum. Their table is framed by shoji screens. NICK and JUDY both have an array of vegetable maki rolls and an artfully arranged salad. [// this is a really classy Japanese restaurant.]

JUDY:  
I thought these places only had fish. I'm pleasantly surprised.

NICK:  
Did you notice the pandas eating here? And that I'm not eating fish? I knew where to take you.

\-----

JUDY nods to him.

JUDY:  
You could be a detective with those smarts, you know.

NICK (smiling, pointing at a blob of wasabi paste on his dish):  
Try the green stuff with your next roll. Just a tiny bit, it's really spicy.

You like spicy, right?

\-----

JUDY puts a dot of wasabi on one of her rolls. NICK raises his sake cup to his mouth.

JUDY (smiling):  
I'm pretty adventurous, if you haven't figured by now.

NICK (smiling):  
Here's to you, daredevil.

\-----

JUDY takes a bite.

NICK:  
Tell me, how did a Simple girl from Farmtown grow up to be so daring?

\-----

JUDY'S expression shows surprise: her ears become bright red, her eyes bulge. She reaches for her sake cup.

NICK:  
Were you always like this or did you grow into it?

\-----

JUDY gulps down the entire cup in one swallow.

NICK:  
I just don't see how the farmer lifestyle creates rebels, or even allows them.

\-----

JUDY, hand at her upper chest, regains her composure.

JUDY:  
Goodness, that was spicy. This is wine, right?

NICK:  
Something like that. Like it?

\-----

JUDY (looking downward, contemplative):  
It's... different. Everything is different here, isn't it.

But to your question: I'm not a rebel, I'm just following my natural path. To do anything else would be complication.

\-----

NICK:  
Being a cop isn't complicated, but being a farmer would be?

JUDY:  
It would be complicated. That's not what I am. Trying to force a square peg into a round hole doesn't work for the peg or the hole. 

\-----

JUDY (regarding NICK, head tilted):  
You're the rebel here. How far have you strayed from your destiny? 

\-----

NICK (looking downward, introspective):  
Actually, I think I'm getting back on track. Remember when I told you about the Junior Rangers when I was a kit?

JUDY:  
Yes...

\-----

NICK (resentfully, 'finger quotes' gesture):  
The kit I was back then, is who I'm supposed to be. The 'technically legal' scoundrel Slick Nick is the scam, even if that's what I'm expected to be.

\-----

NICK leans forward; his hand is about halfway across the table, palm facing up. 

NICK:  
I have to be able to respect myself. I need to know I'm not living a lie, even if I've been living one for years.

And if everyone else thinks I'm doing the wrong thing, then it's everyone else who's wrong. You understand, don't you?

\-----

JUDY leans forward, her hand about halfway across the table, half a finger-span away from NICK'S.

JUDY (smiling):  
Of course I do.

\-----

Their eyes meet across the table; they gaze directly into each other. They each extend a single finger, touching them fingertip-to-fingertip.

JUDY:  
The fox I see now is the one I believe in.

\-----

[episode 7 act 4]  
  
EXT. the ANVIL: REDFERN is leaning against the wall next to the door. Two approach: the DARK WOLF and VICKERS. 

REDFERN:  
'Evening, gentlemen. Got ID?

DARK WOLF:  
I been here before, you don't remember?

REDFERN:  
You have ID if you've been here before. Let's see it. 

\-----

DARK WOLF shrugs and produces his wallet.

VICKERS:  
I left mine at home.

REDFERN:  
Go get it, I can wait.

\-----

VICKERS produces his ID as REDFERN examines DARK WOLF'S ID.

REDFERN:  
Is that your truck across the street?

VICKERS:  
Who's asking?

REDFERN:  
That's a tow-away zone, just sayin'.

\-----

REDFERN examines VICKERS' ID.

VICKERS:  
Do us a solid and look out for it, okay?

REDFERN:  
I'll tell you if I see a tow truck. Enjoy the night, gentlemen.

\-----

INT. the ANVIL: VICKERS and DARK WOLF are seated at the bar. MIKE TURGENEV enters and heads toward the bar.

BARTENDER to MIKE:  
Mike! Your first is on the house.

DARK WOLF to MIKE:  
What's a guy gotta do to get one on the house?

MIKE to DARK WOLF (smiling):  
You have to be a good boy and behave yourself.

[// the bartender can be rendered entirely at the artist's discretion, within the overall theme of the Anvil.]

\-----

DARK WOLF and VICKERS look at each other and shrug. The BARTENDER serves MIKE a pint of dark beer. MIKE takes a seat at the bar.

DARK WOLF:  
Must be comedy night.

MIKE (grinning):  
All the world's a stage, gentlemen. Some of us just take longer to grow out of it.

\-----

FOCUS TO the door, with the bar and the three above characters in frame: ERIC CONEY and L.E. ELDRIDGE enter.

VICKERS (glancing toward the door):  
'cCh, look what just walked in. What do gardeners want with this place?

MIKE:  
My guess is 'drinks' since this is a bar.

\-----

DARK WOLF to MIKE:  
At the Anvil? Shouldn't they be sipping tea on a farm somewhere?

Time was, their kind knew their place.

MIKE casts a look of disapproval upon DARK WOLF.

\-----

DARK WOLF to MIKE:  
This isn't their place. This is the Anvil, the place where Metal is struck. The foundry of some of the hottest Metal acts in the world.

Folks like them should be at a square dance somewhere with their fiddles and banjos.

\-----

MIKE to DARK WOLF (not in a friendly way):  
I'm guessing you're not from around here.

DARK WOLF:  
I'm looking for Eric Thorium; my band is looking for a session keyboardist. But nobody knows what anyone in Thorium looks like, so I'll have to ask around.

\-----

MIKE looks hard at DARK WOLF.

MIKE (suspicious, sideways glare):  
Anyone ever tell you, you look a lot like the front guy for Slakte?

DARK WOLF (sarcastically):  
I get that a lot. I hope you're not asking for an autograph.

MIKE:  
No worries there...

[// Slakte: Norse, 'slaughter']

\-----

L.E. joins MIKE at the bar, hops onto a rung of MIKE'S stool, stands on tip-toe and licks MIKE on the chin.

L.E. to MIKE:  
Yum! New flavor?

MIKE to L.E.:  
I took a shower. You like that?

VICKERS and DARK WOLF look at them both with disgust.

\-----

MIKE'S hand is on L.E.'s shoulder.

L.E. to MIKE (facing MIKE, eyes toward VICKERS and DARK WOLF):  
Are you going to introduce me to your friends?

DARK WOLF to MIKE (pointing with contempt at L.E.):  
What the hecking crud is that?!

\-----

MIKE places a hand on L.E.'s shoulder.

MIKE to DARK WOLF (flatly):  
She is someone you don't want to piss off.

L.E. to DARK WOLF (quiet anger):  
Seriously, dude: you can go suck a worm out of a rotten apple if you're going to be like that.

\-----

DARK WOLF to L.E. (indignant):  
You wanna say that to me outside, grazer?

L.E. (already exiting, waving at him over her shoulder to follow her):  
Oh it's **on**. Let's go, your kind can only die once.

VICKERS is very surprised as he watches L.E. walk away. MIKE 'face-palms' with a look of intense regret.

\-----

EXT. the ANVIL front door: L.E. and DARK WOLF exit (in that order). Both have the look of murder in their eyes. REDFERN is leaning against the wall, doing pretty much nothing.

REDFERN to both (casually):  
Don't make a mess, they just cleaned up back there.

DARK WOLF:  
Just give a holler if you see the cops.

\-----

L.E. walks back into the Anvil by herself, still with a murderous expression. REDFERN sees her but pays no mind.

\-----

INT. the restroom at the Anvil: ERIC is standing on a small stool at the toilet, zipping up his pants. L.E. enters and reaches into the cabinet under the sink.

ERIC (turning his head around, surprised):  
Hey!

L.E. (scowling):  
I'll be just a minute. I need some peroxide, I have some blood on my paws.

ERIC:  
What?! Did you get hurt?

L.E.:  
I didn't say it was my blood.

[// the stool Eric is standing on has his waist just over the edge of the bowl.]

\-----

EXT. the ALLEYWAY behind the ANVIL: DARK WOLF'S legs are hanging over the edge of a wheelie-bin labeled 'RECYCLE GLASS ONLY,' the rest of him is in the bin.

REDFERN to DARK WOLF:  
Hey man, you can't hang out in there. 

\-----

INT. the ANVIL, from the bar, with the doorway visible: REDFERN leans into the open doorway, calls and points to VICKERS at the bar:

REDFERN:  
Hey you: I think you should take your friend to a vet, he looks sick.

VICKERS is shocked; he stands up from the bar. MIKE turns his head away as if he was wishing to be anywhere else but there.

\-----

FOCUS TO the doorway as VICKERS dashes through the door with a concerned look on his face. REDFERN holds the door open for him.

REDFERN to VICKERS (casually):  
Oh, and they towed your truck.

VICKERS (furious):  
Hecking what?!

REDFERN:  
You didn't hear me call you? Hey I know it's noisy in there, what'cha gonna do.

\-----

[bookmark 7-4-1: this frame]

FOCUS TO the bar: L.E. joins MIKE at the bar, hopping up onto a stool and placing her hands on the edge of the bar. The BARTENDER is right there as if expecting her. 

L.E. to BARTENDER (calmly):  
I'll have a short cider and a half-shot of something volatile.

BARTENDER (with half-a-smile):  
More volatile than you? We don't have any nitroglycerin back here, babe.

[// in this sense, L.E. is using 'volatile' to mean 'evaporative,' and the bartender understands it to mean 'explosive' or 'unstable.']

\-----

FOCUS TO MIKE and L.E: MIKE raises a finger half-way as to ask a question; his mouth is open a tiny bit as he begins to speak.

MIKE to L.E. (worried):  
\- ?

L.E. (calmly interrupting MIKE):  
I know what you're asking: he was still breathing when I left him. And Red has doubtless called an ambulance by now.

\-----

FOCUS BACK to the perspective in bookmark 7-4-1 above. The BARTENDER serves L.E. a half-pint glass of pale red cider and a half-shot of vodka. ERIC joins them at the bar and hops onto a stool.

MIKE to L.E. (relieved):  
That's my girl. Thanks for not making extra work for anyone.

L.E.:  
It's not like I can call in that sort of favor too often.

\-----

ERIC to L.E. (exasperated):  
I'm not gonna ask who you just killed -

L.E. (knocking back the shot, eyes closed):  
I said he was still breathing.

ERIC:  
Whatever. Who was it?

\-----

L.E. (eyes rolled sideways as if in regret):  
Just some pred power bastard. Nothing of value was lost.

ERIC:  
{heh} What are you gonna do when all his buddies show up?

L.E.:  
Crumbs, I didn't even think of that.

\-----

[episode 7 act 5]  
  
[caption: on the wrong side of the tracks]

INT. DOUG'S LAB at the storage rental: DOUG is on a stool, talking on his cell phone.

DOUG:  
The good news is, the stuff works as I thought it would. The bad new is, one of the guys got busted.

No not him, I told him to lay low. He's got some baggage.

\-----

DOUG:  
The social media thing? It's happening, go have a look for yourself. And if it goes overboard, then that's what it does. I just got the ball rolling, ya know?

\-----

DOUG:  
We talked about splitting the take. They get a slice of the pie for their work, you get the rest.

Let me worry about handling those guys, I got them just where we want them.

\-----

A knock at the door is heard (out of frame).

DOUG:  
Gotta run, I have company. 

\-----

[bookmark 7-5-1]

LATERAL VIEW, toward the inside of the door: DOUG raises the door a bit and peeks through in an upward direction.

DOUG (angry):  
Get your tail in here!

\-----

VICKERS slips through the half-open door, looking anxiously behind.

DOUG:  
Didn't I tell you to lay low?

VICKERS (anxious):  
We got problems.

DOUG (angry):  
You have problems! You shouldn't even be here! We're already on thin ice, what with one of your guys getting busted and that cop being dead.

\-----

[bookmark 7-5-2]

LATERAL VIEW, focusing on the two of them at the interior wall: VICKERS leans against the wall, hands in his pockets, hunched posture, looking very uneasy.

VICKERS:  
There's more, my truck got towed.

DOUG (impatient, angry):  
So?

VICKERS:  
My truck was at that bank job. It's kinda a hot ticket.

DOUG:  
I told you to lay low. Why can't you follow instructions?! 

\-----

DOUG:  
This whole thing is falling apart since you flipped out and one of your stooges got busted.

VICKERS:  
Look, we're just in it for the money. I didn't think a cop was gonna get killed, but I lost my head. The drugs, and he was a traitor anyway.

\-----

VICKERS:  
For real, the money isn't worth it anymore. The crew is getting kinda worried and I think it's time for a vacation. It was fun while it lasted, but it ain't fun anymore so count me out!

Count all of us out! We're done.

\-----

VIEW OF ROOM, as seen by a camera installed in a ceiling corner, angled downward toward the center of the room: DOUG smiles a bit and points a thumb over his shoulder at the viewer (i.e. the camera). 

DOUG:  
Smile when you say that.

VICKERS (impatient):  
What? I said screw off, we're done.

\-----

DOUG turns around and points directly at the camera / the viewer:

DOUG (calmly):  
I've got surveillance in here and you're on it. You, dealing with me, taking drugs from me, giving money to me, thanking me for my work.

And you're mine if you don't want every cannibal in the world to know you're owned by a grazer. You got that?

VICKERS is very upset.

\-----

RETURN TO the perspective at bookmark 7-5-2:

DOUG:  
Get your truck back now and get rid of it. Call me when you're done. Can you do that without screwing up? Now get on it!

\-----

VICKERS exits, looking resentfully over his shoulder as he leaves. DOUG is already on his phone.

DOUG:  
Me again. Listen, we have a bit of a setback.

\-----

INT. SWINTON'S home office: SWINTON is on her desk phone.

SWINTON:  
What do you mean, we have a setback? I have expectations of you. 

[// Swinton lives in a typical suburban McMansion in the Meadowlands. It looks classy at first glance, but a lot of it is just as shallow and tacky as she is. Her home office has the necessary office things and a fair amount of suburbanite bling: a reprint of a masterpiece, a large framed mirror, a curio cabinet full of tacky junk. Not all of this detail needs to be included in this frame.]

\-----

SWINTON twiddles the phone cord into a spiral around one of her fingers as she talks.

SWINTON (arrogantly):  
You have a setback. I have a schedule centered on the upcoming mayoral election. Maybe you're just not the one for this job if you can't meet my schedule.

\-----

SWINTON (listening, nodding, thoughtful expression):  
Mm hm, right, right... But blackmail works both ways, sir. Your safety depends on my silence, so don't even think about it.

\-----

[episode 7 act 6]  
[bookmark 7-6-1]

INT. NICK'S APARTMENT: NICK and JUDY are on the couch, the room semi-dark as it was as in episode 5, bookmark 5-4-1, only a bit brighter and no pizza box on the table. They're wearing what they were at the restaurant; NICK'S feet are up on the coffee table.

NICK (holding the TV remote):  
I'm starting to get used to this. Another cartoon?

JUDY:  
Sure, but can we catch the news for a bit?

\-----

[bookmark 7-6-2]

FOCUS ON NICK'S TV, as seen by them on his couch. NICK'S feet on the coffee table are visible in the lower left corner. The channel is ZNN: the anchor is Fabienne Growley, co-anchor Peter Moosebridge. [// refer to the first movie 1:13:30 for typical ZNN broadcast.]

The banner chyron at the bottom of the screen is 'Uptown West school defaced' with the ZNN logo and the flag 'developing,' the time is 9:15 PM.

GROWLEY:  
Today, the wall of a junior high school in the Otterdam area was defaced with predator supremacist graffiti. This comes on the heels of a recent surge of supremacist activity in social media.

\-----

MOOSEBRIDGE:  
ZPD Police Chief Bogo held a press conference this afternoon at Zootopia Police Headquarters, connecting the recent social media surge with the recent slaying of ZPD Corporal Tomas Schwarzwolf.

\-----

ZNN framing of a press conference at Zoo-1 press gallery with BOGO at the podium. [// refer to first movie 1:09 for where BOGO is standing] The banner chyron at the bottom of the screen is 'ZPD Chief Bogo.'

BOGO (as calmly as he has ever been):  
The ZPD is aware that predator supremacist activity is on the rise, and our analysts have connected this activity with the recent slaying of one of our own. 

\-----

ZOOM IN ON BOGO, maintain chyron and framing.

BOGO:  
We will apprehend Tom Schwarzwolf's killer, and we will not rest until he is in a cage where he belongs.

Even if this city has no Mayor, we still have a Police Department and we are still protecting and serving the public and upholding the law.

\-----

(VOICE OUT OF FRAME):  
Mr. Bogo, are you saying you're acting as the leader of Zootopia?

BOGO turns at the podium to face the voice out of frame.

BOGO (annnoyed):  
Absolutely not. My job is to protect and serve, not to govern.

\-----

RETURN TO framing of bookmark 7-6-1: NICK is aiming the remote at the TV / the viewer.

TV:  
When asked, Chief Bogo denied any ambition to -

NICK (turning to JUDY, neutral expression):  
Ready for another cartoon now?

JUDY (an expression of disappointment):  
Yes, anything but the news! I don't want to think too much right now.

\-----

INT. ASAD'S apartment: ASAD is at his kitchen table, holding his personal cell phone to his ear. A half-eaten takeout sandwich is in front of him on the table.

ASAD:  
You have a truck matching the description? Send me pictures all around and get it covered up right away. Don't let anyone touch it until I say it's okay to release.

I need those pictures now. No, tomorrow morning is not soon enough.

\-----

[/ end episode 7]  
[// 96 frames]

[2021 02 14 wrg]


	10. episode 8: no rest for the weary

**Notes for the Chapter:**

> dramatis personae:  
>   
> Judy  
> ZPD staff:  
>  Delgato  
>  Clawhauser  
>  Det. Jones  
>  Det. Asad  
> Vickers  
> L.E. Eldridge  
> Altaha  
> Doug  
> Nick  
> Duke Weaselton [c]: weasel, male, crook

[episode 8 act 1]

EXT. UPTOWN POUND, a municipal vehicle impound lot. FOCUS TO show the gate and a booth with a window with a small ledge and security cut-outs. The impound lot is enclosed in high chain-link fence topped with barbed wire; the ZPD logo is visible on the signage. VICKERS is at the booth, bending a bit to speak through the hole in the window. The COP in the booth, a heavy-set ram wearing his badge on a lanyard, is looking at a computer screen.

VICKERS through the hole:  
I'm here to pick up my truck? A black pick-up with plates EAG-1488?

COP:  
Hang on... nope, it's not here.

VICKERS:  
What do you mean it's not here?

\-----

The COP passes a piece of paper through the bottom hole in the window.

COP:  
It's not here. Leave us a number so we can call you if it comes in. 

VICKERS writes on the paper.

VICKERS (annoyed):  
Can you tell me where it is?

COP:  
I can tell you where it isn't. Thank you, have a good day.

\-----

EXT. Watering Hole Park, wide frame: JUDY and DELGATO pass a small group (maybe 6 or 7) of assorted cervids (deer, antelope etc) and one tanuki going through a tai chi exercise. The group are wearing loose sweats or track suits.

DELGATO:  
Eyes wide for your food cart guy.

\-----

More of the Park: JUDY and DELGATO pass a large group (between a dozen and twenty) of red pandas, tanuki, one Siberian tiger, one musk deer and one hare going through a tai chi exercise. Ahead of the group, about two paces away, is one panda. The group are wearing 'street clothes,' not workout clothes. This group of practitioners generally appears to be very organized and synchronized. None of them are looking at their hands or feet, they are well practiced. 

[// the panda at the head of the group is not a nod to Po of Kung Fu Panda: this panda is leaner, shorter, and has a bit of grey around the eyes.]

\-----

FOCUS TO the hare in the group: it's L.E. Her face is blank in perfect serenity, her gaze straight ahead, her movement on point and with perfect focus.

\-----

FOCUS BACK TO the previous framing: DELGATO holds his head at an elevated angle, sniffing.

DELGATO to JUDY:  
Your friend is around here somewhere. 

JUDY (looking around):  
Do you see him?

DELGATO:  
I smell zaatar sauce.

\-----

VIEWED TO SHOW JUDY'S and DELGATO'S backs, ALTAHA'S cart is visible in the distance. JUDY and DELGATO head toward it.

\-----

AT ALTAHA'S CART, side view: JUDY is holding her phone for ALTAHA to see. ALTAHA cranes his neck a bit to get a better view.

\-----

INT. ZOO-1 lobby, focus to front desk: CLAWHAUSER is on the phone. 

CLAWHAUSER:  
Could you send a flatbed to pick up a vehicle from the Uptown pound? It needs to get to our lab yesterday.

\-----

[bookmark 8-1-1: this frame]

INT. DET. JONES' CAR somewhere downtown, view to include the console with the laptop open: JONES is looking at the laptop as he talks on his cell phone.

JONES:  
Abe: we have a name, a face and a phone number on your truck. Just got it from Central: a mountain lion, name of Vance Vickers in Uptown South.

\-----

EXT. the Park: JUDY and DELGATO are walking away from ALTAHA'S cart. Both have wrap sandwiches.

RADIO:  
Attention all units: APB updates incoming, check your consoles and mobile apps now. This is an APB with priority.

\-----

DELGATO and JUDY both are looking at their phones, still holding their sandwich wraps.

JUDY (shocked, wide eyes):  
Oh my goodness it's him.

\-----

EXT. surface platform of the Loop's Harbor St. Station: VANCE VICKERS is on his cell phone.

VICKERS:  
I couldn't get the truck. It's not in either of the pound lots.

What? Häh, I might call you when I'm of town.

\-----

INT. JONES' car, same framing as bookmark 8-1-1: JONES is looking at the laptop, phone in one hand.

JONES:  
His number pinged near the Harbor St. Station. He's on the move. We need the train station exchanges covered before he gets to the Jungle.

\-----

EXT. the Park: JUDY and DELGATO are twiddling something on their radios.

RADIO:  
Attention all units in Z1 Savanna Central: 10-63 channel 5, repeat 10-63 on 5 at once.

\-----

JUDY and DELGATO are listening intently to their radios: DELGATO with his held to his ear, JUDY holding hers away from her ear a bit.

RADIO:  
Bogo here: our perp is on the move. Wolford, get to the inbound Z Loop exchange and call back. Otieno, get to the taxi queue west of the Park. Rhinowitz, outside Savanna Central Station. Delgato and Hopps, inside the Station.

\-----

INT. Savanna Central Station: VICKERS is at a ticket window for the Burrows Line, arguing through the window with the teller, a female North American mountain goat wearing a short-sleeve shirt and bowtie.

VICKERS (angry):  
Whaddaya mean, declined?! This card is good!

TICKET TELLER:  
I'm sorry sir, this card has been declined twice now. Do you have another way to pay?

\-----

VICKERS:  
Run it again! It's good!

TELLER (passing the card through the machine):  
I'm sorry, it's been declined. Maybe you should call your bank?

\-----

VICKERS walks away from the window, snarling.

VICKERS (anger and contempt):  
Get stuffed, grazer.

\-----

NOT FAR AWAY, JUDY'S ears perk up and turn to a side.

(VOICE OUT OF FRAME, distantly):  
{get stuffed grazer}

JUDY'S eyes widen in surprise. She follows her ears with intent, holding her radio to her mouth.

JUDY on the radio (whispering):  
{Ray: ticket counter now.}

\-----

JUDY is on the move, almost jogging. Passers-by clear out of her way. In the distance, VICKERS can be seen from the rear.

RADIO:  
I see him, he's headed my way.

\-----

FOCUS to VICKERS from the front: he stops dead as he sees DELGATO ahead. (DELGATO is not visible in this frame. JUDY is not visible in this frame.)

VICKERS (eyes wide, frowning):  
Dung! 

\-----

WIDE LATERAL FRAMING: VICKERS turns and runs away from DELGATO. All others see them and scatter. (JUDY is not visible in this frame.)

DELGATO (approaching VICKERS, hand on holster):  
Stop right there!

\-----

FOCUS TO: JUDY grabs a newspaper from a newsstand as she hides behind a vendor kiosk. VICKERS approaches her direction, running full tilt. JUDY peeks around the vendor kiosk as VICKERS approaches.

\-----

JUDY throws the newspaper directly under VICKERS' foot as he runs past the kiosk. VICKERS slips on the newspaper. Pages fly everywhere, VICKERS lands hard on his back.

\-----

JUDY grabs his hand, twisting it 180º, extending the arm and rotating the elbow into locked extension, while placing a foot firmly in his armpit.

VICKERS:  
aäcCcH *OW*

DELGATO runs at them.

\-----

VICKERS, from the floor, takes a swipe at JUDY'S face, claws extended, grazing her right cheek. JUDY'S face shows fury as she places her other hand on VICKERS' elbow, firmly locking the arm rigidly extended.

VICKERS (raging):  
Stuff you, hecking lawnmower!

DELGATO arrives.

\-----

VICKERS has been turned over onto his belly. JUDY still holds the one arm at full extension, moving her foot to between his shoulders. DELGATO has extended VICKERS' other wrist to the wrist JUDY is holding up; VICKERS is cuffed.

JUDY on her radio:  
Rhinowitz: we need a pick-up at the newspaper stand by the pretzel place. Can you bring a pole and a bag?

(VOICE OUT OF FRAME):  
Hey lady, you owe me for the paper.

\-----

3/4 ANGLE FOCUS: RHINOWITZ is walking VICKERS out through the station, a choke pole loop around his neck, a bag over his head. JUDY and DELGATO are walking ahead of them, JUDY on DELGATO'S left.

DELGATO (turning slightly toward JUDY, concerned):  
You have blood on your face.

JUDY touches the fingers of her right hand to her face where she was scratched.

\-----

JUDY looks at her fingers.

JUDY (flatly):  
At least it's my blood this time.

\-----

INT. DOUG'S LAB at the storage rental place: DOUG is twiddling dials on a radio. His face expresses unhappiness as the radio makes incoherent noise. His cell phone is next to the radio.

RADIO:  
*kKft pPpfshHhpfffK

DOUG (looking at his phone):  
ZPD is scrambling their channels and Vickers isn't picking up. Something's happening.

\-----

DOUG opens a safe next to a filing cabinet. The safe is full of bundled cash.

DOUG:  
Time to take a vacation.

DOUG'S phone rings: *♪! ♪!

\-----

DOUG glances at his phone but does not answer it.

DOUG (dismissively):  
Swinton. Too bad it's all hit the fan, she's on her own.

\-----

DOUG exits, carrying a gym bag full of cash, leaving his phone behind. FOCUS TO the phone.

\-----

INT. ZOO-1 interview room: VICKERS is in a chair, shackled to the ring bolt. ASAD enters, holding a cell phone, facing the front of it close to VICKERS' face.

ASAD:  
Is this your phone?

VICKERS:  
I ain't saying a word.

\-----

FOCUS TO ASAD and the phone in his hand as it makes a quiet clicking sound: {*unlock}

ASAD (smiling):  
Thank you.

\-----

[episode 8 act 2]

INT. ZOO-1 First Detectives: ASAD is going through VICKERS' phone. JONES is at his desk.

ASAD:  
This phone is a gold mine. Names, phone numbers, social media accounts, the works. Delgato and Hopps really won this round.

JONES:  
I'm telling you, Hopps is too smart to be a beat cop.

\-----

ASAD looks at JONES absently.

ASAD:  
Let Bogo say that. Right now we have to figure out where the drugs are coming from.

JONES:  
Any GPS tracks on the phone?

ASAD:  
Nope. Maybe there's one in that truck?

\-----

JONES picks up his desk phone.

JONES:  
Hello, Hurriet: Virgil Jones... 

\-----

JONES looks at the claws on his left hand in a very distracted and bored manner.

JONES (impatient but very calm):  
...First D. Could you please ask your intern to call me?

\-----

JONES, bored and impatient, rests his head in his left hand as he holds the phone loosely against his right ear, staring out into nowhere as he waits for Hurriet to finish a sentence.

\-----

JONES (relieved):  
Thank you.

\-----

EXT. the sidewalk around the Park: JUDY and DELGATO are back on the beat.

DELGATO:  
We owe your friend a ton, he practically gave us the guy who killed Tom. Remind me to get lunch from him forever.

JUDY:  
I would anyway, just for the tabouli. All we have to do now is solve the sleepwalker mystery.

\-----

DELGATO (as a warning):  
Stay in your lane, that's detective work. We do our part, they do theirs. Don't forget you're still a patrol cop, no matter how lucky you are.

JUDY (scowling):  
I wish everyone would stop saying I'm lucky.

\-----

L.E., on a mountain bike, wearing a messenger bag, approaches in the street next to them. The bike's brakes squeal a bit, the rear wheel tips up as the bike comes to a sudden stop. L.E. is holding out a business card to JUDY.

L.E. to JUDY:  
Hey Judy! Call me, it's worth a cup of tea.

JUDY takes the card.

[// L.E.'s bike is comparable to a Specialized Rockhopper and is definitely not pink.]

\-----

INT. a Snarlbucks downtown: JUDY and L.E. are at a table, each has a cup of tea. The Snarlbucks logo is visible somewhere in the frame, perhaps backwards on the front window.

JUDY:  
I'd be here every day if I knew they have bergamot.

L.E.:  
They sell it here, though it's rather pricey. You're better off getting it at Trader Jerboa's.

JUDY:  
So what's up? I know we haven't seen each other in a while.

\-----

L.E. (eyes rolled upward, as if remembering):  
I saw that mountain lion's mugshot on the news when I was between runs today. He was at the Anvil yesterday. His friend lost a fight and wound up in the hospital... I presume.

I can tell you that both of them are pred supremacists, if that means anything to the police.

\-----

JUDY:  
Do you know this guy's name, the one who lost the fight?

L.E.:  
No, but how many black wolves went to Uptown General last night? He may still be there for all I know. Maybe Red remembers his name if he carded him.

\-----

L.E. leans in a bit toward JUDY.

L.E.:  
On another note, I haven't seen you at the Anvil lately.

JUDY:  
It's not really my scene. I mean, Thorium is wonderful but that crowd just isn't me.

\-----

L.E. leans back and makes a small dismissive wave.

L.E.:  
It's not really my crowd either, I only follow a few bands. Mike is the reason I'm there.

JUDY (uneasily):  
To be honest, I'm also avoiding Eric.

\-----

L.E.:  
Pfft, don't worry about Eric. He's busy with music these days, hanging out almost exclusively with Mike and their music buddies.

No time for the ladies: 'bros before does,' as he always says.

\-----

L.E. (tilting her head sideways, with a knowing grin):  
I love Eric, but he's only good at two things: one of them is music. 'Social skills' is not the other one.

JUDY (focusing on her tea):  
I won't ask what the other thing is.

L.E.:  
You can probably guess what that other thing is.

JUDY:  
{heh} I know what he wants to do with me, if that's what you mean.

\-----

L.E.'S PHONE buzzes, she looks at it.

L.E.:  
I have a run, gotta dash.

JUDY (smiling):  
Go, and thanks for the tea.

\-----

L.E. exits. JUDY picks up her phone.

JUDY:  
Nick? Hi, do you have wi-fi at your place? I have some homework tonight.

Hm? I'm in the mood for Chinese, are there any places around your way? Great, see you at 6.

\-----

[episode 8 act 3]

INT. NICK'S PLACE: NICK is arranging things on the coffee table. His laptop is on the table, one unconnected CAT5 cable extends out-of-frame (toward the viewer) in the direction of his (unseen) TV console. NICK stands back and looks at it all, thumb and forefinger on chin as if in thought.

NICK:  
What's missing?

\-----

INT. JUDY'S APARTMENT: JUDY is packing her laptop, a notebook etc into a backpack. Her phone receives a text message: *♫!

JUDY (looking at her phone):  
My favorite tea? Bergamot, why?

\-----

JUDY is texting; both thumbs are on her phone. 

JUDY:  
A surprise? You're full of surprises.

What's a Dopp kit? 

\-----

INT. NICK'S PLACE: NICK opens the door to admit JUDY, who is wearing a loose 3/4-length t-shirt and jeans. Her backpack is in one hand.

NICK (smiling):  
Come on in. Everything's all set up.

\-----

FOCUS TO the coffee table: JUDY sits on the edge of the couch, placing her laptop on the table. NICK'S laptop is already open. A small vase with one white chrysanthemum is between their laptops.

NICK:  
Welcome to the Wilde Library, Officer Hopps.

JUDY (half-smile, definitely curious):  
Most libraries don't have flowers on the desks.

\-----

NICK sits next to JUDY and taps at his laptop. JUDY leans over to look at his screen.

NICK:  
If I may direct you to this screen, our menu for tonight.

JUDY:  
What's in a spring roll?

NICK:  
Springs. Very rich in iron. The mustard sauce is to make them rust.

\-----

FOCUS TO the two of them:

JUDY (sarcastically):  
You could have been a comedian.

NICK:  
It's all laid out: the green V means vegetarian, the red S is for spicy. The place is run by red pandas, so you know the V dishes really are vegetarian.

\-----

JUDY points at the screen.

JUDY:  
Can we split that as a starter?

NICK (turning to her, smiling):  
Sure, whatever you want.

\-----

JUDY plugs the loose CAT5 cable into her laptop and opens it.

NICK (regarding JUDY with curiosity):  
So what's your homework?

JUDY:  
Pharmacology. I'm trying to figure out if there's an antidote for tranq darts.

\-----

NICK turns to his computer, both hands on the keys.

NICK (curious):  
O...kay. Mind if I put on some music?

JUDY (looking at her laptop):  
Sure, anything but Metal.

NICK:  
Jazz? Swing? I have Bunny Goodman queued up.

\-----

FOCUS TO JUDY, looking down at her computer:

JUDY (smiling):  
I grew up listening to that. My parents play it all the time. By all means, please.

\-----

[montage begins:]

JUDY and NICK are working on their laptops. Music plays in the background: ♫♪ ♪♫♪...

\-----

JUDY and NICK are working on their laptops. Containers of Chinese takeout are on the table. Music plays in the background: ♫♪ ♪♫♪...

\-----

NICK and JUDY are removing dumplings from the same takeout container at the same time, both smiling. The music continues: ♫♪ ♪♫♪... 

[/end montage]

\-----

JUDY is holding a notebook, NICK is at his laptop.

JUDY:  
Here's a list of drugs that could be used as antidotes or preventatives for the drugs in tranquilizer darts, but these are all injectable drugs.

You can't get them at pharmacies, they're only at hospitals.

\-----

JUDY turns to NICK. 

JUDY:  
So these drugs are coming from a hospital.

NICK (without looking up):  
That has to be it. Someone must be selling them out the back door.

\-----

JUDY pokes her chopsticks into one of the takeout containers.

JUDY:  
Do you happen to know anyone who does that sort of thing?

NICK (picking up his phone):  
Drugs are not my racket, but I might know someone who might know.

\-----

NICK is on his phone, holding a notebook and pen:

NICK:  
Hey Finn: you know where I can find Weaselton?

Let's just say he has something I want. And yeah I know I'm not one of his favorites. Great, thanks.

\-----

INT. a very dim, seedy bar somewhere: DUKE WEASELTON is on a stool with half of a half-pint of beer in front of him. JUDY sits next to him.

JUDY to DUKE:  
Hi, got a minute?

DUKE:  
Get lost, flopsy. I ain't got no time for you.

JUDY:  
I'm pretty sure you do.

\-----

DUKE turns to JUDY in his stool, annoyed.

DUKE:  
I ain't talking to ya, and it ain't like you can drag me off to your mob buddies 'cause that's a bad look for you and the cops if you know what I mean.

JUDY (sly smile):  
I'll make it worth your time.

\-----

DUKE:  
You ain't got nothin' I want... unless it's money.

JUDY:  
I'm pretty sure I do. You know we're onto your racket selling bootleg movies.

\-----

FOCUS TO JUDY:

JUDY:  
I don't know what you pay for your movies, but I'd bet it's more than nothing. Seizing your entire inventory could put you back quite a bit.

\-----

JUDY (head cocked to one side):  
Not to mention, you'd have to deal with the feds for copyright violation. And I won't even get started about the taxes for unreported revenue.

So we're talking about your money, not mine.

\-----

FOCUS BACK to the two of them: DUKE is very uneasy.

DUKE:  
Out with it, whaddaya want?

JUDY:  
You help me, I could forget about you... for a while. I'm looking for drugs being sold on the sly at a hospital.

\-----

DUKE:  
There's a guy, works the dispensary at Uptown General. A muntjac, name of Hu, works third shift.

JUDY (one eyebrow up):  
What's his name? And which shift?

DUKE:  
I said Hu's his name: Hu's on third. Just say you're picking up for Dr. Cash and he'll take care of you. Don't tell him you know me.

[// a nod to Abbott and Costello]

\-----

INT. UPTOWN GENERAL, pharmacy counter: NICK is at the counter, looking at a piece of paper in his hand. A male Asian Muntjac in scrubs is on the inside of the counter, holding a clipboard.

NICK:  
I'm picking up for Dr. Cash?

HU (looking downward at his clipboard):  
What's the 'scrip?

NICK (reading the paper):  
Uh naloxone, flu-ma-ze-nil - 

\-----

HU looks up at NICK, interrupting:

HU:  
Oh you're picking up for Doug. Hang on.

\-----

HU returns with a large white paper bag and hands it over to NICK.

NICK:  
Thank you very much.

HU (looking around cautiously):  
Tell him the price went up.

\-----

NICK exits. Another red fox, slightly taller than NICK and dressed in a polo shirt and dark slacks, approaches the counter. HU is on the wall phone, looking at a clipboard.

HU:  
I went over the pediatrics dispatch twice before I closed it up. It's in there, check again. Meloxicam 1 mg/mL suspension, banana flavor, 15 mL bottle for one J. H. It's in there.

\-----

HU hangs up the phone and turns to the fox.

HU:  
Sorry to keep you waiting.

FOX:  
I'm picking up for Dr. Cash.

HU:  
What's the 'scrip?

\-----

FOX:  
Flumazenil, naloxone, selegiline and a bag of sterile water.

HU (frowning):  
We have a problem.

\-----

[episode 8 act 4]

INT. NICK'S apartment: JUDY is seated on the couch, her laptop folded up. NICK is in the kitchenette, reaching into the mini-fridge. The paper bag containing the drugs is on the coffee table in front of the flower vase.

JUDY:  
We solved the mystery! We have the source for the drugs.

NICK:  
Cider? Er, 'apple wine?'

JUDY:  
I'll split one with you.

\-----

NICK returns to the couch with a can of cider and an empty half-pint glass.

NICK:  
So we have drugs and a seller. Now please don't ask me to commit any more crimes, or did you forget I'm trying to get into the ZPD?

JUDY (surprised):  
Oh, I didn't even think that far ahead.

\-----

NICK sits on the couch and opens the cider, pouring some into the glass.

NICK:  
And since we went there, let's talk about how you're going to bring this all to your boss.

\-----

NICK has a serious expression on his face as JUDY takes a sip of cider.

NICK:  
Think about how you can present this evidence without risking your tail or mine. I'll bet some of this stuff is narcotic, not to mention all of it being prescription. I don't even want to open this bag to see what's in it!

\-----

FOCUS TO JUDY, a serious, introspective expression on her face.

JUDY:  
This isn't the first time I've had problems managing evidence. 

\-----

NICK stands up, away from the couch.

JUDY (looking at her watch):  
Wow, it's already 11.

NICK:  
You have a busy day tomorrow. You're welcome to spend the night if you want.

\-----

JUDY regards NICK, a curious smile on her face.

JUDY:  
So that's why you asked me to bring a 'Dopp kit.'

NICK:  
An invitation, not a request. I gave you the option since I didn't know how late we would be up.

\-----

JUDY (eyeing NICK directly):  
Just sleep, nothing else?

NICK:  
Do you still think I'm safe?

JUDY:  
Of course I do.

\-----

They are both folding down the couch into a bed.

NICK:  
Besides, you probably know a hundred ways to kick my tail.

JUDY says nothing.

\-----

NICK is arranging the pillows.

NICK:  
I'll turn the air conditioning down to 19º, does that work for you?

JUDY:  
That would be perfect, just where I like it.

[// temperatures are in Celsius]

\-----

They are both sitting on the bed, Nick has a remote in his hand.

NICK:  
I read somewhere that rabbits like it cool.

JUDY:  
What about you?

NICK:  
I'll be fine.

\-----

NICK is taking off his necktie.

NICK:  
You're okay with this? Just making sure.

JUDY (with half a smile):  
This is all fine, Nick. It's a sleep-over, only we're adults.

\-----

NICK has removed his shirt. Both are standing to remove their pants.

NICK (with a foolish smile):  
Not even a pillow fight?

JUDY (turning away from NICK):  
heh. 

\-----

[bookmark 8-4-1]

They are both sitting cross-legged on the bed, facing each other. JUDY'S t-shirt is just a tiny bit above her knees. NICK is wearing only plaid boxers.

NICK (smiling, extending a single finger to JUDY):  
This time I'm sleeping on a bed. How about that. 

[// the boxers aren't the same plaid we saw at the end of episode 2; apparently Nick wears different shorts every day.]

\-----

JUDY extends a single finger to touch NICK'S.

JUDY (smiling):  
Buddy goal achieved.

\-----

[/ end episode 8]  
[// 100 frames]

[2021 02 14 wrg]


	11. episode 9: chain of custody

**Summary for the Chapter:**

> Judy manages evidence, only this time she does it the right way.

**Notes for the Chapter:**

> dramatis personae:  
>   
> Judy  
> Nick  
> ZPD staff:  
>  Det. Asad  
>  Det. Jones  
>  Chief Bogo  
>  (others without speaking roles)

[episode 9 act 1]

  
INT. NICK'S APARTMENT, ceiling view of the futon: JUDY and NICK are asleep. They are lying on their sides, 'spoon' positions with NICK behind JUDY. NICK'S arm is over JUDY'S waist, JUDY'S arms are in relaxed flexion at her chest. The sun illuminates the room from the window.

[// perspective: JUDY is about 2/3 Nick's height (not including ears), her hips are in line with Nick's and both of their legs are in relaxed flexion. Nick's head is above Judy's. For this scene, her ears are in relaxed forward extension.]

\-----

LATERAL FOCUS TO JUDY, her eyes squint as she yawns.

\-----

Her eyes are dimly open as she smiles and puts a hand over NICK'S hand at her waist.

\-----

NICK wakes up, raises his head above JUDY'S.

NICK (not really awake):  
'Morning?

JUDY (smiling):  
'Morning.

\-----

NICK (apologetic):  
Uh, my paw must've wandered in my sleep -

JUDY (smiling):  
Are any of your digits broken?

NICK:  
No?

JUDY:  
Then I didn't notice or didn't mind.

\-----

WIDEN lateral focus: JUDY'S phone alarm (out of frame) goes off: *🔔🔔!

JUDY:  
Rise and shine, time to get to work.

NICK:  
Aw, do you have to?

JUDY:  
We'll get back to this some other time.

\-----

VERTICAL FOCUS per normal, including the coffee table and the bed: NICK sits up and stretches, yawning. JUDY is sitting on the edge of the bed next to NICK, reaching toward the floor.

[// artistic note: when canids yawn, the tongue curls inward.]

\-----

NICK, wearing only boxers, is headed toward the kitchenette as JUDY leans back on the bed, pulling on her pants both legs simultaneously.

NICK:  
Tea for you?

\-----

JUDY is seated again, pulling the Dopp kit out of her backpack. NICK is placing a cup under his coffee maker.

JUDY:  
I'm starting to think you planned this all along.

NICK (smiling a bit):  
I put some thought into it, but spending the night was your idea.

\-----

JUDY is brushing one of her arms with a hair brush. NICK brings a coffee mug (with a teabag tab hanging out if it) to the coffee table.

JUDY:  
That's fair, but you're prepared with the tea.

NICK (sly smile):  
So are you, with the Dopp kit and a shirt long enough to sleep in. We both prepared. 

\-----

NICK reaches into the drawer of the end-table next to the futon. JUDY runs the brush over the top of her head.

NICK:  
Any thoughts about how to handle our evidence here?

JUDY:  
I've been thinking.

\-----

NICK brushes out an arm with a coarse brush. JUDY is putting her brush back into the Dopp kit.

NICK:  
And..?

JUDY:  
Get dressed first.

NICK:  
I wasn't going anywhere without clothes, you know.

\-----

WIDER FOCUS: NICK walks over to his wardrobe as JUDY puts away her brush.

JUDY (looking into her backpack):  
There's always the possibility. Dress to impress, all right?

\-----

FOCUS TO NICK next to the open wardrobe: NICK, now wearing dark chinos, is holding a Hawaiian shirt and a tie over his chest.

NICK (smiling):  
What do you think? This tie and shirt?

[// the shirt and tie clash hard, of course.]

\-----

FOCUS TO JUDY as she sits at the edge of the bed, sipping her tea. Her head is turned toward NICK.

JUDY:  
That's a bit bold. How about the white shirt?

\-----

RETURN TO NICK, wearing an off-white shirt with a faint almond tan pattern. He's tying the necktie.

NICK (curious):  
This one? Are we going to a funeral or something?

(VOICE OUT OF FRAME):  
Make your coffee, I'll explain.

[// nota bene: this shirt is the only non-loud shirt Nick owns. The pattern is very subdued, so a tie wouldn't look too horrible with it.]

\-----

FOCUS TO a wider view of the apartment including the kitchenette and the bed with the coffee table in front. JUDY is drinking the tea. NICK, his tie hanging loosely to the first button down, is making coffee.

NICK (concerned):  
I don't like how you said that.

\-----

FOCUS TO WIDE LATERAL VIEW including the coffee table (minus Judy's laptop, all else from last night in situ), JUDY seated on the bed. Nick walks over with a cup of coffee, on the side of the table away from JUDY.

JUDY (smiling):  
Did I tell you, I do appreciate that you got the tea? And it is my favorite kind. You're really something, sir.

\-----

FOCUS TO NICK and JUDY seated on the bed, the coffee table still visible before them. They're turned toward each other.

NICK (with suspicious disapproval):  
You're laying it on thick. Just give it to me without the sugar.

JUDY (flatly):  
I have to get in front of this and tell the Detectives exactly what I have and how I got it... without mentioning you as much as I can.

\-----

NICK:  
Prescription crimes and all?

JUDY:  
I'll try to leave your name out of it, but all you did was name two drugs: naloxone and flumazenil, which are not narcotics. Hu handed you a bag and you left without opening it.

There's no crime the way I see it, but I'm not a lawyer.

\-----

NICK (still uneasy):  
No you aren't, but go on...

JUDY:  
For all we know, that bag has bottles of water in it. None of our prints are on anything inside, right?

NICK:  
Right...

\-----

JUDY (sipping tea):  
You didn't give him money or even offer any. You mentioned two drugs and he gave you a bag.

NICK (doubtful):  
That's it? You give the bag to the detectives, ta da it's done with?

\-----

JUDY (somber):  
I said I won't even mention your name unless I'm directly asked. The 'best case scenario' has you not being involved at all.

NICK (sipping his coffee):  
What's the best case scenario for you?

JUDY:  
Meter maid in Sahara Square if I'm lucky.

\-----

JUDY picks up her backpack.

JUDY:  
I'll take the bag in and talk to the Detectives. You'll hang out downtown and wait for my call. 

NICK isn't thrilled about the plan.

\-----

NICK drops the bag into a small empty gym bag.

NICK (flat expression):  
That's your plan.

JUDY:  
Tell the truth from beginning to end, no nonsense. This is really big, so I can't be coy about it.

Unless you have a plan?

\-----

JUDY and NICK head out the door (in that order), bags in hand.

NICK (definitely not thrilled):  
Yours is as good as any...

\-----

[episode 9 act 2]

EXT. downtown, two blocks away from Zoo-1: JUDY and NICK are outside a Snarlbucks. 

JUDY:  
Do you trust me, Nick?

NICK:  
Yeah, as much as you trust me?

\-----

CLOSER FOCUS to their heads within the same frame:

JUDY (serious):  
You know I do.

Would you forgive me if this all goes bad and we end up needing lawyers?

\-----

WIDER FRAME to include them entirely: NICK takes both of JUDY'S hands.

NICK (dead serious):  
I think you're doing the right thing.

I had a chance to cut and run before we got on the train. I could've just left all this in your paws and I'd be  at most risking my future with the ZPD.

\-----

CLOSER FOCUS to include their heads and torsos: NICK'S head is closer to JUDY's face.

NICK:  
I know you're risking everything you made for yourself since you were born.

And if you have to give me up, I'll stand with you even if my neck winds up on the block next to yours.

\-----

JUDY hugs NICK: his expression is calm but not cold. JUDY'S head is turned away from the viewer, against NICK'S chest, her ears down.

JUDY:  
Don't make me cry, mister.

\-----

They break the clinch, still holding both hands at almost full extension. JUDY is solemn but not unhappy; her ears are both straight up.

JUDY:  
Now let me go. Grab a newspaper and stay low.

\-----

NICK passes the gym bag to JUDY'S left hand. His head is down a bit, but his eyes face directly to her. 

NICK:  
Everything's gonna work out, right?

\-----

FOCUS closer to them both: JUDY stands close to NICK, her hand directly on the center of his chest. Her head is craned up to look NICK directly in the face. Her ears are down.

JUDY (sternly):  
If nothing happens by noon, I want you to get lost and stay lost, as in take a long vacation far away. I mean it.

\-----

INT. Zoo-1 First Detectives: JUDY stands at ASAD'S desk. She's wearing class A instead of her usual light rattle. In her left hand is Nick's bag. ASAD is looking at his laptop.

JUDY:  
Detective Asad? Can we talk?

ASAD (without looking up):  
What is it, Hopps?

\-----

JUDY:  
It's about the sleepwalkers: I have the drugs they used.

ASAD (looking sideways at JUDY):  
Tell me what you know.

JUDY:  
I have the drugs, right here in this bag.

\-----

ASAD (looking up, all attention on JUDY):  
What do you mean, in that bag?

JUDY:  
Can we talk about this in an interview room?

\-----

ASAD picks up his desk phone.

ASAD on the phone:  
I've got Hopps with me, she might be late for roll-out.

\-----

ASAD stands up from his desk.

ASAD to JUDY (flatly):  
Give me the bag and come with me.

\-----

INT INTERVIEW ROOM: JUDY is seated at the table, hands folded in front of her not far from the ring bolt in the table. The bag is open. ASAD, wearing gloves, stands and inspects the contents of the bag. Both of them are almost expressionless.

\-----

EXT. INTERVIEW ROOM, view of the window: ASAD is on the wall phone outside the room. JUDY can be seen seated at the table, hands still folded, expressionless. 

ASAD:  
Hopps is with me for a while. We just got a huge break in the sleepwalker issue.

\-----

INT. INTERVIEW ROOM: ASAD sits in the chair across from JUDY and places a recorder on the table next to the bag.

ASAD:  
Let's get started: from the top, how and where you got this.

\-----

INT. the SNARLBUCKS where NICK is hanging out: NICK is at a table, behind a newspaper. A cup of coffee is on the table next to a mostly-eaten blueberry muffin. DET. JONES enters.

\-----

FOCUS TO DET. JONES standing at NICK'S table:

JONES:  
Are you Wilde?

NICK (without looking up from the paper):  
I'd say I'm very civilized.

\-----

JONES (flatly):  
My mistake, I'm looking for a comedian named Wilde. Sorry for the bother.

Get up, you're coming with me.

\-----

[bookmark 9-2-1: this frame]

EXT. ZOO-1 interview 1, view of the window and the door (with the number on the door), as seen through the window: JUDY is in the chair: her necktie off, her shirt open one button, her sleeves rolled up to just below her elbows. Her expression shows considerable stress; her mouth is open as if speaking. ASAD is visible at the edge of the window, hands on the table, leaning in toward JUDY as she speaks.

\-----

EXT. interview room 2 [which is just like room 1, except the number on the door is 2 and there's no phone next to the door], view of the window and the door, as seen through the window: NICK and DET. JONES are doing the exact same thing that JUDY and ASAD are doing in the previous frame.

\-----

INT. a hallway of an apartment complex, outside an apartment door: WOLFORD is standing sideways just outside of the doorframe (on the same side as the doorknob) as he knocks on the door with his left hand. WOLFORD'S right hand has lifted up the edge of his t-shirt to expose a dart gun in a deep holster. SNARLOV stands behind him on the other side of the door, holding a net launcher at the ready.

[// the door would open inward to the apartment, per usual.]

\-----

INT. HU'S APARTMENT: HU has opened a window, one leg out the window as he straddles the window-frame, one arm pushing the window up. As HU is exiting, he looks back at the front door.

[// the details of Hu's apartment are entirely at the discretion of the artist, but it's clear that his lifestyle is a bit more expensive than that of the average pharmacist.]

\-----

EXT. HU'S APARTMENT WINDOW on the fire escape stairwell: as HU is passing though the window looking back into his apartment, FANGMEYER stands ready on the stairs. HU isn't going to get very far.

\-----

ZOO-1 HALLWAY OUTSIDE INTERVIEW ROOM 1: ASAD is on the phone. JUDY can be seen through the window, still seated as she was in the frame at bookmark 9-2-1, only she is alone and silent. 

ASAD:  
The issue with Hopps is ongoing. I'm asking you to release her to me for now. 

There's a lot going on here and it didn't end with Tom's killer. Hopps is becoming very useful.

\-----

ASAD:  
I'll give you an outline before tomorrow, but I'm going to need her all day. Yes, we'll still need Wolford on call.

\-----

ASAD (a bit annoyed):  
I am not trying to take all your cops off the beat. You know I'd have Tom with me if I could...

An outline report by 17:00. I promise.

\-----

AT AN ANGLE to show the Desks of ASAD and JONES and the doorway of Interview-1: ASAD hangs up the phone and walks down the hall toward his desk. JONES waves him over.

JONES:  
Abe, got a minute?

\-----

FOCUS TO THEIR TWO DESKS: ASAD stands next to JONES' desk. JONES is pointing at a page in a folder open in front of him on his desk.

JONES:  
Forensics got back to me: I got a map from the navigator in our perp's truck. He lives in Haymarket uptown, but his truck was at the bank where the Schwarzwolf thing happened. So that's a link right there.

\-----

JONES:  
And his truck has been to here, someplace on the southwest docks of the New Gnu York area. I did a map search, there are three warehouses of some kind at that location.

\-----

JONES picks up a steno-size notepad from his desk and holds it at reading distance. ASAD holds his forefinger and thumb to his chin as if in thought; his face is contemplative.

JONES (excited):  
And get this! Vickers and the pharmacist both have a number for a guy named 'Doug' on their phones. I called the number, the phone is still on.

ASAD:  
It's probably a burner, we'll never find it.

JONES (excited):  
I tried the number. That phone pinged off a tower in the docks area. It's not going to voice-mail, it's ringing.

\-----

[// time: 10:15]

INT. INTERVIEW-1: ASAD opens the door, leaning into the room.

ASAD:  
Get into rattle and be back in ten minutes.

JUDY is surprised.

\-----

[episode 9 act 3]  
[bookmark 9-3-1]

INT. ASAD'S CAR, ANGLE to show the faces of JUDY and ASAD at 3/4 with JUDY at the left forefront: ASAD is at the wheel. The console computer is retracted under the glove box. JUDY is in the right-hand seat, wearing her usual light rattle. She is wearing a seat belt; her feet are nowhere near the floor. The car is on the road in urban traffic.

JUDY (confused):  
Can I ask where we're going?

ASAD (expressionless):  
We're going to the docks in the New Gnu York area.

[// the reference to Judy being so small is a visual reminder that she is a rabbit working in a large predator's world; not much police equipment is rabbit-sized.]

\-----

JUDY:  
What will we be doing there?

ASAD:  
I hope we'll be finding a phone. You're the one to find it if it's still active.

JUDY:  
Why am I the one for that? Don't we have gadgets that can find a phone anywhere?

\-----

ASAD (patiently, eyes on the road):  
We do, but they're not precise. If the GPS is on, we can pin it to within 20 metres. If it's off, we can tie it to the nearest cell tower - which could be within a kilometre.

But you can hear a parking meter go beep from down the block. 

JUDY is aggrieved.

\-----

ASAD continues:

ASAD:  
Good thing we're starting with a street intersection, that narrows it down to three buildings and one of them is vacant.

\-----

EXT. the docks area in west Gnu York: an area with shipping, light industry, warehouses etc. ASAD and JUDY have parked their car and exited; they're walking through the gate for a storage locker rental place named Hippo Depot. ASAD is carrying a folder, JUDY is carrying a large tool bag (with noticeable effort).

ASAD:  
We'll start with this place.

\-----

INT. HIPPO DEPOT at the front office: ASAD flashes his badge to a hyena behind a security window; JUDY stands next to ASAD - and is unseen due to her size. 

\-----

INT. Hippo Depot, a hallway: the hyena, carrying a ring of keys, unhappily accompanies ASAD and JUDY. ASAD has his phone in one hand, the folder in the other. JUDY is very attentive, with wide eyes. The tool bag is on the floor at ASAD'S feet.

ASAD:  
Everyone quiet, I'm dialing the number now.

\-----

JUDY walks down the hallway with an expression of intense concentration, ears forward. 

\-----

JUDY, about half-way down the hallway, stops.

JUDY:  
I heard something but it stopped.

(VOICE OUT OF FRAME to the left):  
Hang on, I'll dial again...

\-----

JUDY continues and stops at a locker to her left. She turns to her head to the left and points at a padlocked roller door made of corrugated steel. The door is about 2.5 metres wide, comparable to a garage door. Her ears are erect, angled toward the locker. 

JUDY:  
It's in here, this one.

\-----

ASAD and the hyena are at the locker. ASAD puts down the tool bag and hands the folder to JUDY.

ASAD to JUDY:  
Officer Hopps, could you explain the search warrant?

\-----

WIDE ANGLE including the door of the locker in the background: ASAD, wearing a face shield, is holding a portable angle grinder to the padlock and hasp on the right of the roller door. JUDY and the hyena are to the left of ASAD, JUDY has the folder open and is reading a page to the hyena. A stream of sparks fly as ASAD cuts the lock.

\-----

ASAD has lifted the door all the way up, revealing the entire lab. The angle grinder and the cut padlock are on the floor to the right of the doorframe. 

ASAD (facing into the locker, hands on hips):  
Jackpot.

\-----

INT ASAD'S car, ANGLE to show ASAD before JUDY at the right forefront, the perspective in bookmark 9-3-1 flipped. Part of the left side of the dash is obscured; the wheel is fully visible with the left stem lever and paddle switches.

JUDY:  
So where are we going now?

ASAD (eyes on the road):  
Home, now that forensics is on site. I need what's on that phone more than anything else. We have to get it to the guys in IT.

[// IT: information technologies]

\-----

JUDY:  
What was all that in the warehouse?

ASAD:  
It looks like a drug lab, and it's probably where the sleepwalker drugs were coming from. Forensics can tell us more, but this phone could tie it all together. 

\-----

INT. BOGO'S office, lateral view: BOGO is on his desk phone. The chair usually in front of BOGO'S desk has been moved and turned to face the wall. JUDY is standing in front of his desk to the left of center, an unhappy expression on her face.

JUDY (holding her phone):  
You wanted to see me, sir?

[// removing the chair is a show of power: Judy has no option but to stand.]

\-----

VIEW of BOGO'S DESK head-on, JUDY'S back to the viewer as she stands in front of the desk: BOGO folds his hands in front of him on the desk. JUDY is standing at rigid attention as BOGO speaks.

BOGO (a disappointed and weary expression):  
What are we going to do with you, Hopps? Haven't we been down this road before? 

Don't you remember the problems we had with the Bellwether case? We already went over those mistakes, and you've made the same mistakes again.

\-----

ZOOM IN on BOGO:

BOGO:  
I know you're talented. You're a good cop at heart, and we need good cops. But you must remember, no-one is expecting you to do everything by yourself. You're not the only cop in the city. 

\-----

BOGO:  
You must respect our structure. A cop who goes off on her own, outside of her assigned duties, without talking to her superiors, is not a good cop. 

You could be a good cop if you made the right decisions, but you could be a problem if you don't.

\-----

ZOOM OUT to include JUDY: she has lowered her head in a humble and dejected manner.

BOGO:  
What kind of a cop do you think you are right now?

JUDY:  
Not a good one, sir.

\-----

BOGO (with scorn):  
Insubordinate at the very least. And don't forget, you acquired drugs illegally! What did you think you were doing? 

No-one told you to do all that! Going off by yourself gets you into serious trouble. 

JUDY'S posture is a bit bent as she stands, she is uneasy. Her ears are flat down her back.

\-----

BOGO (merely disappointed and weary again):  
We're going to take you down a different road, Hopps.

I want you at a desk until I say otherwise. No doubt you have a lot of paperwork to take care of.

\-----

LATERAL FOCUS: JUDY exits, head down, ears at half-mast. BOGO'S desk phone rings, he glances at it as he picks up. 

BOGO:  
Asad: I was just going to call you. 

Off the record? Tonight, the Brass Rose. 

\-----

INT. the BRASS ROSE, a bistro in Sahara Square: BOGO and ASAD are at a booth, seated opposite each other. They both have cups in front of them. Between them on the table is a small Bialetti-style moka pot.

BOGO:  
I've read your outline and I'm sure there's more to it. That's why we're off the record?

ASAD (sipping his cup):  
There's a lot more to it.

BOGO:  
Well?

\-----

ASAD:  
First, about Hopps: she was very useful. I don't think we would have found the lab so quickly without her.

That lab is the motherlode of evidence, I'm sure it will lead us to much more.

\-----

BOGO:  
How well does Hopps work with you?

ASAD:  
She takes direction well enough, and she's very sharp. But... I think she likes to do things her own way.

For what it's worth, Virgil thinks she's too smart to be a patrol cop.

\-----

BOGO:  
I know she has talent but she needs discipline. She's not quite a team player, if you know what I mean. She's only barely qualified to be on patrol.

I had her with a great mentor for about a week...

\-----

ASAD (sad):  
... Tom.

BOGO:  
Mmhm. Now tell me about her accomplice.

\-----

ASAD:  
Oh right, him. Her accomplice is Nick Wilde, the same guy you asked me to look up last week. Let me tell you about him -

BOGO (darkly):  
I already know him, that's why I wanted you to find a reason to get him off our candidate list.

\-----

ASAD:  
Oh, I didn't know that. Anyway, he's the one who actually got the drugs from Hu at the hospital.

BOGO (angry):  
Thank you. Now I can get him off the candidate list and no-one can say it's personal. Better still, I can refer him for prosecution and we can be rid of him.

\-----

ASAD (calmly):  
He did get the drugs, but there's more to it. It's only sheer luck that the pharmacist was told a fox would pick up the drugs, and Wilde got there right before the other fox did.

\-----

ASAD:  
We wouldn't have the drugs at all if he got there a minute later than he did. That means we wouldn't have enough to hang on the pharmacist, and probably not enough links to tie all this together for the Prosecutor.

\-----

BOGO:  
So he helped us out in a big way. We can't take his work and then bust him for it because doing that would look like bias.

ASAD:  
...I guess so? I think he could at least be an asset.

BOGO:  
We wouldn't want to lose an asset, would we. 

\-----

BOGO (sternly):  
That doesn't mean I have to like him. Did you find anything on him outside of this mess?

ASAD:  
Nothing. Not even an overdue game rental. And high marks on the admission test, if that means anything.

\-----

BOGO (looking away, frowning):  
He hasn't ever been my favorite, not since Hopps signed on.

ASAD:  
Hm? How do you know him from before this case?

BOGO:  
Long story.

\-----

ASAD:  
I know it's not my place to say, but I think he's at least useful. 

BOGO:  
We don't need any more jokers in the deck. That's not bias, it's a practical issue. 

\-----

BOGO:  
Wilde may be sharp but he isn't cop material. He's a loose cannon just like Hopps.

ASAD:  
Remember when you said that about Wolford? Look at him now, one of our finest. He's still a bit crazy but we both know he'll be a detective someday.

BOGO:  
We both know he needed a lot of coaching.

\-----

ASAD:  
I'll say it again: look at Wolford now.

BOGO:  
We had to break him to get him this far.

We have to do that with Hopps. She's too good to get rid of, but she has a lot to learn.

\-----

[/ end episode 9]  
[// 96 frames]

[2021 02 16 wrg]


	12. episode 10: Gehenna

**Summary for the Chapter:**

> Judy begins her tour in Sahara Square.

**Notes for the Chapter:**

> dramatis personae:  
>   
> Judy  
> ZPD staff:  
>  Ofc. Jo Riverstone: coyote, female, Zoo-13  
>  Cpt. Basil Abnawa: black jackal, male, captain of Zoo-13  
>  Ofc. Jack Berger: golden jackal, male, Zoo-13  
>  Ofc. Marcus Coleman: American bison, male, Zoo-13  
>  Ofc. Dwayne Sturgis: hyena, male, Zoo-13  
>  (numerous others who don't have speaking roles; feel free to refer to the character descriptions in 'chapter 2')  
>  Chief Bogo  
>  Det. Asad

[episode 10 act 1]  
  
[caption: Zoo-13, Sahara Square]

EXT. ZOO-13 PRECINCT HQ, a single-level pale beige stone building with the ZPD logo and shield, and the number '13' over the doorway: JUDY, in her usual urban 'light rattle,' pulls open the right half of the main entrance.

\-----

INT. ZOO-13 lobby: ZPD officers, all large desert or warm climate canids and felids in pale blue desert uniform (either wearing the shorts or kilt), are around the lobby. JUDY, wearing her usual uniform, approaches the front desk. OFC. RIVERSTONE, with a mic headset with a wired ear-bud in her left ear, is behind the desk, computer to her left.

JUDY to RIVERSTONE:  
Hi, I'm Judith Hopps from Zoo-1? I'm to report to Captain Abnawa?

RIVERSTONE (without looking away from the computer screen):  
Be right with you. Z1313: you're good now, see you soon.

\-----

RIVERSTONE leans over the desk and regards JUDY directly. 

RIVERSTONE:  
You're early, Hopps. That is how you're going to work with us?

JUDY (confused):  
This? What do you mean?

\-----

RIVERSTONE:  
Like that, in rattle. Did anyone tell you it gets hot out here? Go to POE, Central sent up some gear for you. 

JUDY:  
Ah, where's -

RIVERSTONE:  
Your left, before the motor pool.

[// POE: patrol ops equipment]

\-----

INT. ZOO-13 locker room, which is like any other ZPD locker room: JUDY is sitting on the bench. She is wearing a light blue button-up short sleeve shirt, light blue long BDU shorts, her usual utility belt (with the dart gun holstered), bracers and boots. On the bench is a large empty cardboard box, a white Boonie hat and a bunny-sized strap mesh utility vest with long pouches on the inside surfaces of the sides and back. She is reading a folded-out paper (instructions for the thermal pockets and 'camel back' pouch in the vest).

[// the ZPD desert uniform shirt has full-color ZPD patches on both arms, two covered breast pockets, a velcro patch on the right for a name tape on the right pocket and a grommeted vertical loop (for the badge) on the left pocket. Judy was issued a name tape, black print on light blue background.]

\-----

BACK TO THE FRONT DESK: JUDY is standing before the front desk, holding the Boonie hat and vest in her hands.

RIVERSTONE (without looking up from the screen):  
That was snappy, you sure don't disappoint. 

Welcome to the Desert and all that. Bullpen is to your right.

JUDY (squinting to read RIVERSTONE'S tag):  
Thank you, ah is it Riverstone?

RIVERSTONE:  
Jo.

\-----

[bookmark 10-1-1]

INT. ZOO-13 BULLPEN, wide view of the room: the room has a lectern in the front and three rows of tables and chairs. JUDY is seated in the front row, her Boonie hat and vest are on the table in front of her. Seated next to her is LAPAHIE. JUDY and LAPAHIE are focusing on a thin manual open between them on the table. LAPAHIE's mouth is open as she taps at the page, explaining something to JUDY. 

Seated in the middle row are STURGIS, BERGER and WILSON: STURGIS is leaning back in his chair in the middle row, chair tipped at an angle against the table behind him. In the back row are MOUCHET and FLEET. Of these officers (aside from JUDY), only MOUCHET and FLEET have Boonie hats in front of them on the tables. 

\-----

CPT. ABNAWA enters, carrying a folder. The canids (BERGER, LAPAHIE, STURGIS) sit up, turn their heads to him and give a short bark: haoUU!

JUDY'S ears twitch a bit.

[// that's right, even Lapahie gives the bark.]

\-----

ROTATE AND FOCUS TO the lectern at the front of the room: ABNAWA is at the lectern, folder open before him. His face is stern. His hands are on either side of the top of the lectern. The rest of the room is not seen in this framing.

ABNAWA:  
A morning of light to our pack, it's good to see you all. Yes even you, Sturgis. You know I love you most.

A couple of short laughs can be heard out of frame.

\-----

ABNAWA (without smiling):  
Lapahie has come back to us after the birth of her pup, a healthy boy named John. Welcome home and best wishes to you and yours, Lapahie.

(VOICE OUT OF FRAME):  
Don't let him grow up to be a cop, Daisy.

\-----

ABNAWA (without missing a beat):  
I wish everyone in this squad would grow up to be a cop. I hope that day comes soon.

Now to business: yesterday saw an arrest at the Wall solar farm. A reminder, anyone who gets near the Wall is to be arrested, no warnings, no exceptions, and with minimal courtesy. The same goes for the Dunes wind farm.

\-----

WIDEN FOCUS to include more of the room:

ABNAWA:  
Today is expected to bring some weather to us. Be prepared for wind.

With that in mind, have an eye open for hikers outside the Oasis. Not all of them know that Sahara means 'desert.' 

\-----

ABNAWA:  
Finally, our Chief sent us a gift: Officer Judy Hopps comes from the madhouse to spend some time with us. We all know who she is, so I won't introduce our house because I expect her to learn something today.

\-----

ABNAWA:  
Hopps has been especially lucky in her work, let us hope she shares her good fortune with all of us.

JUDY'S ears are angled back and downward, as if in anger.

\-----

ABNAWA:  
Assignments: Mouchet and Lapahie will take the north, keep eyes on the Wall. Wilson and Fleet, south sector. I expect fewer at the beach, this being a Wednesday. Sturgis, you're solo along the west ridge Dunes until Berger and Hopps bring lunch from the Oasis. 

\-----

ABNAWA:  
Are there any questions? 

I didn't think so. Berger and Hopps will stay, everyone else roll out. Go with luck and be safe.

\-----

RETURN TO FRAMING IN bookmark 10-1-1: the other cops head toward the door as BERGER and JUDY remain seated. ABNAWA is still at the lectern. 

ABNAWA:   
Berger: take care of Hopps' vest. Don't come back for ten minutes.

\-----

ABNAWA is standing in front of JUDY'S table as BERGER takes her vest and leaves the room.

ABNAWA:  
Welcome to the Desert, Hopps. Do you know why you're here?

JUDY (abashed):  
Some sort of punishment?

\-----

ABNAWA leans toward her.

ABNAWA:  
Our Chief says you lack discipline. 

You will become disciplined on this tour, or you will no longer be a cop. It really is that simple.

JUDY'S expression is that of shame.

\-----

ABNAWA (wrinkled muzzle, teeth bared):  
This land does not forgive mistakes, Hopps. Good cops have died out here. Going stray can get you killed before it gets you fired. And if the desert does forgive you, I won't.

JUDY'S expression shows fear and surprise.

\-----

ABNAWA places his hands at the forward edge of table, still snarling.

ABNAWA:  
I know your past, Hopps. I know you are very capable, despite your history of going rogue. You have done great things, and you have made great mistakes. All these mistakes could have been avoided if you respected the structure.

JUDY:  
Excuse me, sir: with all respect, you called me a 'rogue?'

\-----

ABNAWA (bluntly, locking eyes with JUDY):  
You cannot watch over the flock unless you are with the pack. A 'lone wolf' is a rogue, no matter the intent. 

\-----

ABNAWA (lips up, teeth showing):  
That is why you were sent here. This is a tight squad out of necessity. You will learn to share, to cooperate, to ask for help when needed, and above all to obey.

Or you won't be a cop, quite possibly you won't even be alive. Do you understand where you are?

JUDY (eyes on ABNAWA, fearful):  
Yessir.

\-----

ABNAWA takes his hands off the table and relaxes his expression a tiny bit.

ABNAWA:  
I have some faith in you. I know your past, I know how much you want to be a cop. And you may not believe it, but our Chief also wants you to be a cop. 

\-----

ABNAWA:  
We all know you love this job and this city, but you may not know we love you just as much.

JUDY (doubtful):  
Ah, 'love?'

\-----

ABNAWA:  
You may think it's punishment to send you here, but it is a kind of love. I don't expect you to understand that right away, but I hope you trust me when I say it.

\-----

ABNAWA (eyebrows in a frown):  
Just don't mistake our love for mercy!

JUDY (quickly, with some fear):  
Yessir.

\-----

BERGER returns with JUDY'S vest.

ABNAWA:  
Berger: you have ten minutes to go over the basics with Hopps. She will be with you today, make sure she understands where she is.

BERGER (nods):  
'Sir.

\-----

ABNAWA exits.

BERGER to JUDY (with his nose wrinkled):  
You smell like fear.

JUDY (taken aback, indignant):  
I beg your pardon?!

[// nota bene: 'prey' people are very sensitive about their scent, especially if that scent is perceived to be that of fear.]

\-----

BERGER (bluntly):  
What you don't smell like is sunblock. Let's take care of that before we go out.

\-----

EXT. Zoo-13 building: BERGER and JUDY exit through the front door. BERGER and JUDY both have loosely-wound light blue desert scarves and goggles at their necks. JUDY has snapped up the side brims of her Boonie hat, her ears are erect. (As always with a Boonie hat, the strap is down far below the jaw.) The inner surfaces of her ears are white with sunblock. She's wearing the vest, loosely.

BERGER to JUDY:  
First on our beat is the Palm Hotel. We'll work our way out from there.

\-----

BERGER (head inclined a bit closer to JUDY):  
Sunblock is what you should smell like if you want to go home with ears. And that scent, what is it? Almost like ivy?

JUDY (somewhere between coy and cautious):  
What I'm wearing? It's clover blossom if you must know.

\-----

BERGER (smiling):  
I like it. It's not a 'pushy' scent. Very subtle.

JUDY (self-aware, regarding BERGER askance):  
Most people can't tell I'm wearing it at all unless they know me.

\-----

BERGER:  
Am I being too familiar?

JUDY (pointedly):  
Yes.

\-----

They continue onward.

BERGER:  
There's not a lot of scent once you get out of the Oasis. It's nice to smell something pleasant. 

Now the madhouse, that place stinks. It's just too much, like getting kicked in the nose.

\-----

EXT. STREET LEVEL DOWNTOWN SAHARA SQUARE: they pass shops and vendor stands.

BERGER:  
I should tell you, we're a very straightforward squad. If someone says something that sounds rude, it usually isn't out of disrespect. I hope you learn that soon, it's very important.

JUDY is paying close attention.

\-----

  
BERGER:  
It may seem - uh, personal? - when one of us is so up-front with you. We're all familiar, and we get familiar real quick.

It's not just our manner, it's everyone's here. This is not the Savanna.

\-----

BERGER:  
I hope you forgive me for what I said earlier, but there's a reason I said it like that.

JUDY:  
I'm trying to learn. I'll forgive you if you didn't mean to be rude.

\-----

They continue onward.

BERGER (a warm smile):  
You're our sister. We guide our siblings with love.

We ignore the ones we hate, that's worse than being rude. 

\-----

BERGER:  
Tell me, are you afraid of the Cap'n?

JUDY:  
He is rather intimidating. Please don't tell anyone I said that.

\-----

BERGER:  
Oh he knows he is. Do you think any of us are afraid of him?

JUDY:  
Remind me, which one is Sturgis?

BERGER:  
The hyena. He's the joker who told Daisy to not let her pup grow up to be a cop.

\-----

JUDY:  
And the Captain is hoping he'll grow up to be a cop? That guy?

BERGER:  
Yeah him, Cap'n loves him most.

\-----

They continue onward.

BERGER:  
Dwayne is out on the Dunes by himself instead of at a desk back home. The Cap'n wouldn't give him the hardest beat solo if he didn't think he could handle it.

\-----

They continue onward. JUDY regards BERGER with curiosity.

JUDY:  
Does everyone here call Savanna Central 'the madhouse?'

BERGER (jokingly, with a smile):  
The crazy ones don't. They say it's paradise and this place is the Inferno.

\-----

A pair of tourists, two male reindeer in urban casual, approach.

TOURIST1:  
Hey you guys know this place, right?

BERGER:  
Yes sir, how can we help?

TOURIST1:  
Where around here can a guy find a bar?

\-----

BERGER:  
There's a bar in the Palm Hotel.

TOURIST2:  
Is there another one? One that doesn't cost a rack?

BERGER:  
The closest is near Riverside Station in Savanna Central, but the bars over there aren't open yet.

\-----

The tourist reindeer look at each other with wonder and disbelief.

TOURIST1:  
Seriously? Only one bar around here?

BERGER (calmly):  
It's that kind of place, gentlemen. But you will find the best coffee in Zootopia at the Jasmine House, Agave and North.

TOURIST2:  
We'd go to Snarlbucks if we wanted coffee.

[// nota bene: bars are necessarily scarce in Sahara Square, as the overall cultures are predominantly Middle Eastern and Native Southwestern.]

\-----

The tourists walk away, disappointed.

BERGER to JUDY (jokingly but not really):  
The stuff they serve at Snarlbucks is not coffee.

JUDY:  
I wouldn't know.

BERGER:  
The Jasmine House also has the best tea if that's more your thing. I should take you there sometime.

JUDY regards him with curiosity.

\-----

They turn a corner. The PALM HOTEL is visible from a block away, towering over the mostly single-story structures around it. JUDY looks up at the tower, BERGER pays it no mind.

BERGER (as an aside):  
Impressive, isn't it.

JUDY:  
Yes it is...

BERGER:  
You're a cop, stop acting like a tourist. 

\-----

An antelope couple, clearly tourists, are looking up at the tower. The female antelope is pointing at the tower, the male is aiming a camera toward the top of it and fiddling with the camera controls. BERGER and JUDY walk toward them from the rear and to the left.

BERGER to JUDY:  
Stand a bit behind the male and keep watch to his right.

\-----

BERGER stands to the left of the couple, JUDY stands a bit behind and to the right of the male with her eyes and ears to his right. The male antelope takes a few snapshots.

\-----

The male antelope rests the camera around his neck.

BERGER to MALE ANTELOPE:  
Good morning sir. If I may suggest, you should put your wallet in your front pocket.

MALE ANTELOPE:  
Hm? Oh yeah, thanks.

The female antelope looks at BERGER with some surprise.

\-----

The male antelope moves his wallet. JUDY peers intently to the right, ears tracking. BERGER regards JUDY, eyes narrowed.

BERGER:  
Him again. You go low and west, I go high and east.

\-----

They split up, moving through the tourists quickly but not obviously. They are both pursuing an unseen person as casually as they can.

BERGER:  
{'chuf}

\-----

FOCUS TO JUDY walking quickly ahead of a male HARE, facing him and headed toward him at an angle. The HARE is moving with purpose, his ears are erect and turned backward, his attention is not directly forward. His ears are tracking BERGER.

[// the hare has lean and angular features and long, narrow ears; his short coat is light tan with subtle spots. He is wearing long cargo shorts and a plain beige oversized t-shirt.]

\-----

JUDY is within arm's reach of the HARE.

JUDY to HARE (sternly):  
Good morning.

The HARE turns suddenly to JUDY.

\-----

They stop. BERGER is right behind them.

HARE to JUDY (with surprise and suspicion):  
Is there a problem, eh officer?

JUDY to HARE (flatly):  
You're in a hurry, is something wrong?

\-----

BERGER looks down at the HARE from behind him, his ears turned back in anger. The HARE is unaware of BERGER behind him.

HARE to JUDY (somewhat nervous):  
I'm going to the train station, I'm late for work.

BERGER:  
You're at work.

\-----

The HARE looks directly up at BERGER behind him, his ears flat against his back.

HARE (nervous):  
Good morning officer. What's so funny?

BERGER:  
Good morning. How's work today? Any luck?

JUDY'S arms are at a 'ready' position.

\-----

BERGER looks down, placing a hand on the HARE'S head, one of the HARE'S ears between his fingers.

BERGER:  
You know this dance, old friend. Please allow my partner to help you find your wallet.

The HARE nervously regards JUDY as she frisks him.

HARE:  
I'm telling you, I'm going to the train station.

\-----

The HARE's front pockets are hanging inside-out; the cargo pockets are hanging out loosely, their top flaps unbuttoned. The front of his t-shirt has been stuffed into the waist of his pants. JUDY'S hands are on her hips.

JUDY to HARE (directly):  
How were you going to get on the train without money or a transit pass?

HARE:  
Ah, I left it at home? Thanks for letting me know.

\-----

BERGER looks down at the HARE.

BERGER (sternly):  
Looks like we met early today, lucky you. Now have a good morning someplace else, do you hear me?

HARE (dejected):  
Yeah sure.

\-----

The HARE walks off, looking nervously back at BERGER and JUDY.

JUDY to BERGER:  
Did I miss something? Why were you laughing? 

BERGER:  
To keep his ears on me. Works every time.

\-----

They walk toward the hotel. BERGER is smiling.

BERGER:  
I usually have this beat with Trevor, but I'm almost having fun with you.

JUDY (curiously regarding BERGER):  
Is that so.

\-----

BERGER:  
We make a good team, Judy. You knew what to do and I didn't have to say a word.

Too bad you're only here for a while.

JUDY regards him with some amusement.

\-----

They continue toward the Hotel.

RADIO:  
Z13 Oasis: the Hotel needs a pick-up. D & D, white tiger male 1 metre 90 white jacket sloppy drunk. Marcus is on the way with the limo.

BERGER on the radio:  
Z13-O copy, Berger and Hopps responding.

\-----

They are at the Hotel, on the red carpet under a long canopy. The doorman, a male CAPE BUFFALO (in a tuxedo with a gold braid aiguillette on the left shoulder) is gently restraining a sloppy-drunk male SIBERIAN TIGER in a white dinner jacket and navy blue slacks; the buffalo's hands are on a shoulder and at the waist of the S-TIGER.

BERGER:  
Good morning, Nyati. Who's your friend?

BUFFALO:  
Heya Jack. This one was just leaving.

BERGER:  
Does he have a room here?

BUFFALO:  
He can get his stuff tomorrow.

[// nyati: Swahili, 'buffalo']

\-----

BERGER takes the S-TIGER'S right hand firmly as if in a handshake.

BERGER to S-TIGER:  
Sir, it would seem you've worn out your welcome here. Would you mind coming with us?

S-TIGER (stupid drunk):  
Thish place has loaded... dice, I shay. I'll leave when dey shettle with me!

\-----

BERGER has moved to the right side of the S-TIGER, still clasping the S-TIGER'S hand and drawing it across his chest. BERGER'S left arm is around the S-TIGER'S right arm as they walk away from the Hotel, the S-TIGER'S gait very wobbly.

BERGER to S-TIGER:  
Please come with me, I'll help you. Miss Hopps, do you see the limo?

S-TIGER:  
A limo, thash more like it. I *erRp* dezherve no lesh!

\-----

The S-TIGER lurches forward, bending at the waist. They hustle him to the curb.

S-TIGER:  
'cCh I'm gonna be sick *e **rR** p*

RADIO:  
Z1310 limo. Jack, you need a lift?

\-----

They are at the curb: the S-TIGER is on all fours, heaving into the street. BERGER stands back a bit, a hand in the S-TIGER'S waistband.

JUDY on the radio:  
Ready when you are, Z1310.

\-----

A ZPD 'limo' arrives, a police off-road SUV. OFC. MARCUS COLEMAN, at the rear of the van, has opened the back door. BERGER and JUDY are guiding the S-TIGER into the back of the van.

COLEMAN (an expression of disappointment):  
Thanks for getting me off the desk, even if it's just for a drunk.

BERGER:  
Our pleasure. Just so you know, he's a bit sick.

COLEMAN:  
Dang it, we just cleaned this thing.

\-----

The van drives off, leaving BERGER and JUDY. 

JUDY to BERGER:  
And he is..?

BERGER:  
That's Marcus. He got hurt so he's on desk patrol. He'll be going back west when he's ready. The Cap'n thinks he needs to be someplace safer.

\-----

[episode 10 act 2]  
  
[caption: meanwhile, in the madhouse]

INT. BOGO'S OFFICE: ASAD is in the chair in front of BOGO'S desk in a relaxed posture, right leg crossed loosely over left. 

BOGO:  
What do you have?

ASAD:  
Remember when I told you this case was going to get bigger?

BOGO:  
That was only 13 hours ago. Well?

\-----

ASAD is almost smiling.

ASAD:  
We have the phone of the Doug player. The number matches up between Vickers', Hu's and this phone. Doug was running Vickers and the gang, and ordering the drugs from Hu.

BOGO:  
What about that lab?

\-----

ASAD:  
He was making the dart antidote. Vickers and that cheetah we busted on Saturday both tested positive for that same drug combination.

BOGO:  
So Vickers' gang is working for this Doug fellow.

\-----

ASAD (somewhat scornfully):  
We figured out the cheetah too, he was dropped from Western's team because of some social media garbage.

BOGO:  
Supremacist, I'd bet.

ASAD:  
Goes without saying.

\-----

ASAD:  
There's more. Doug was sending a lot of money to Swinton's election campaign through Paybuddy. We're hoping to get a subpoena for their records.Doug was also communicating directly with Swinton.

BOGO:  
Swinton? That sow who runs for Mayor every election on some cock-eyed 'law and order' platform?

\-----

ASAD:  
And every time she gets less than 5% of the vote. She has a strong following with older 'predators,' she promotes an attitude that was popular before the War.

\-----

BOGO snorts in disgust.

BOGO:  
Just what this city needs in a mayor. Most of the population is 'prey.'

ASAD:  
We all know that her current campaign is riding a lot on Lionheart's botching the lead-up to the Bellwether issue. 

\-----

ASAD:  
We chased down the predator supremacist push in social media, it started here with Vickers' gang.

BOGO:  
So Swinton is using the gang to stir up fear. We've all been down that road, haven't we.

\-----

ASAD:  
At least they haven't done anything since we got Vickers. No new robberies, no new social media activity.

BOGO:  
What are we doing with Swinton?

ASAD:  
Watching her campaign. I'm hoping we also get a subpoena for her banking records.

\-----

BOGO (heavy frown):  
Where is this Doug player? And who is he? I want him the most.

ASAD:  
He's on the lam.

\-----

BOGO (concerned):  
Who's this lamb? And you make it sound as if she's very young?

ASAD:  
I keep forgetting, we don't quite speak the same language. I meant he's on the run. If you remember the Bellwether issue, the drug lab and the political connection looks a lot like Doug Ramses' racket. 

\-----

BOGO (furious):  
Doug Ramses, I knew it. And we never got him. It won't be long before he gets someone else killed.

I'll ask the Prosecutor to share this with the feds. He needs to go down and I don't care who does it.

\-----

[episode 10 act 3]  
  
[caption: back in Paradise]

EXT. the Dunes: a dune buggy at a distance is driving out in the middle of nowhere, approaching the wind farm to the west.

\-----

FOCUS TO the dune buggy with ZPD markings and EVL: BERGER is driving, JUDY is hanging on tightly. Both have their scarves around their faces and are wearing goggles.

BERGER:  
Dwayne should be close. 

\-----

As they approach the wind farm, they see another dune buggy in front of the high chain-link fence.

JUDY (pointing at the dune buggy):  
That must be him.

\-----

They pull up to the left of STURGIS' buggy outside the fence. Their buggies are parked facing east, away from the wind. Their scarves are down around their necks, their goggles are off. JUDY reaches over from her buggy to STURGIS, a Bug-Burga bag in her hand.

STURGIS (taking the bag):  
Noon of sandwiches, my sibs.

BERGER at STURGIS (without smiling):  
{'chuf} You're finally getting the hang of this place.

\-----

STURGIS reaches into his bag. BERGER and JUDY have paper bags in their laps, BERGER is unwrapping a sandwich roll.

STURGIS:  
This place is Hell for sure, but at least it's the Hell I know. Y'all keeping an eye on the sky?

JUDY (looking up):  
Clouds to the west, looks to me like rain.

\-----

STURGIS (looking at JUDY as if she's crazy):  
Where you think you're at, girl? They get rain to the west and snow to the north, we just get wind.

JUDY (looking into her bag):  
Darn, I was hoping I wouldn't have to wash the buggy when we got back.

\-----

The RADIO comes to life.

RADIO:  
Zoo CMS all services all personnel weather advisory: a squall line crossed the Bayou from the northwest with winds of 70 kph at the Roarke Cliffs Observatory.

STURGIS (looking straight at JUDY):  
Someone ask for weather?

JUDY (looking upward, worried):  
Wasn't me.

[// CMS: Central Municipal Services]

\-----

BERGER leans back behind his seat, reaching around.

BERGER (concerned):  
Dwayne, how many wraps do you have?

STURGIS reaches behind his seat.

STURGIS:  
Dang, just one. How many you got?

BERGER:  
Just one! 

\-----

The wind picks up, sand blows across their backs. STURGIS is pulling an orange mylar blanket around his shoulders. BERGER is holding a similar blanket, folded. His goggles are already on.

STURGIS:  
We better do something if we don't want the Cap to have our tails for getting Hopps killed.

BERGER to JUDY:  
Get in my lap, Judy.

JUDY turns sharply to him, shocked.

\-----

STURGIS is wrapped up in his blanket, only his goggles showing. JUDY hesitates.

BERGER (urgently):  
NOW, Hopps. This is a windstorm!

\-----

JUDY, her goggles on, straddles BERGER'S lap as he wraps his scarf over his muzzle.

JUDY (with hesitation):  
All right...

\-----

BERGER wraps the blanket around them as the wind picks up.

JUDY:  
This better not be when we get familiar!

\-----

BERGER and JUDY are wrapped up, BERGER'S veiled muzzle rests atop JUDY'S head. Only BERGER'S veiled muzzle and goggles, and JUDY'S goggles, poke out from under their blanket.

BERGER:  
Relax. We won't get familiar like that.

STURGIS:  
You're safe, sister. You ain't Jack's type.

\-----

The wind is a full gale, blowing heavy gusts of sand over their backs.

JUDY:  
You mean, 'a lagomorph?'

STURGIS:  
Naw, I mean 'a female.'

BERGER:  
Shut your trap, Dwayne.

\-----

The sandstorm intensifies, blurring the air. Their blankets are only a faint orange haze in the wind.

\-----

[/ end episode 10]  
[// 100 frames]

[2021 02 17 wrg]


	13. episode 11: so you want to be a cop

**Notes for the Chapter:**

> dramatis personae:  
>   
> Nick  
> Judy  
> ZPD staff:  
>  Wolford  
>  Det. Asad  
>  Sturgis  
>  Berger  
>  Riverstone  
>  Cpt. Abnawa  
>  Redfern  
> L.E. Eldridge

[episode 11 act 1]

INT. Zootopia Central Library: NICK is at a table, reading a book in front of him. Another book is on the table, its spine showing the title 'CIVIL SERVICE PREP: POLICE.' WOLFORD, in plain blue t-shirt and black long shorts, approaches and stands next to him.

WOLFORD to NICK:  
Aren't you Wilde?

NICK (without looking up):  
And crazy. How about you?

\-----

WOLFORD pulls a badge on a lanyard out of his shirt. NICK looks up at him.

WOLFORD:  
Just crazy. Let's go.

NICK (irritated):  
Again?

\-----

INT. ZOO-1 INTERVIEW-1: Wolford escorts NICK into the room. ASAD is seated against the back wall (the ring bolt is in front of him). There is a clipboard and a recorder on the table. NICK does not look very happy.

ASAD to NICK (extending a hand to the open chair):  
Thank you, Wolford. Make yourself comfortable, Mr. Wilde.

\-----

WOLFORD exits. 

NICK to ASAD:  
Kinda hard to get 'comfortable' in an interrogation room.

ASAD (calmly):  
'Interview room.' Didn't you know ZPD candidates get an interview?

\-----

NICK settles into the chair, uneasy. ASAD turns on the recorder, its red light visible.

NICK (showing slight surprise):  
Uh, this is my job interview?

ASAD:  
Let's get to know you better, Mr. Wilde. I see you aren't at your usual job these days.

\-----

NICK (directly):  
No, I'm prepping for my interview with the ZPD - when I'm not interacting directly with the ZPD. You also know I work out with a cop at Iron City.

You probably know which restaurants I like and where I get my car inspected.

\-----

ASAD looks at the clipboard.

ASAD (raising an eyebrow):  
I'll let you imagine what we know about you. What we do know is that you've had a successful - and apparently legitimate - career as a popsicle vendor for 20 years. Why give that up to be a cop?

NICK:  
It's seasonal work, and it's not always convenient to take my cart to Sahara Square in the winter.

\-----

ASAD (directly, over the clipboard):  
What do you do during the winter?

NICK:  
I have my savings from the job, and I live within my means.

\-----

ASAD leans over the table toward NICK.

ASAD:  
What can you tell me about Mr. Big?

NICK (with absolute sincerity):  
Oh, Mr. Toporagno? I did some odd jobs for him here and there. Nice guy, he seems to have a lot of friends.

[// toporagno: Italian, 'shrew']

\-----

ASAD crosses his arms across his chest.

ASAD:  
You know he's a mobster.

NICK:  
I know he owns a restaurant and a limo service.

And yeah I know he's mob. Everyone knows that. I'm sure you don't think his florist is a 'made man.'

\-----

ASAD:  
A bit defensive?

NICK:  
I work for a living. I won't turn down a job if it pays well, but I won't do dirty work.

\-----

ASAD (looking at the clipboard):  
What do you know about a guy named Finnick?

NICK:  
He's got a van and he hauls my popsicle gear.

\-----

ASAD:  
What else do you know about him?

NICK:  
He has a 'lady friend' and he likes malt ale. That's really about it. He works with me for the money, not for the company.

\-----

ASAD leans back and puts an arm over the back of his chair.

ASAD:  
What can you tell me about your friend Judy?

NICK (sarcastically):  
What, there's stuff you don't know?

ASAD:  
There are always things we don't know. 

NICK:  
So ask her. 

\-----

ASAD (jokingly, but not really):  
Am I prying into your private life?

NICK:  
I didn't ask you about your private life.

ASAD:  
I already have a job here. This is your interview.

\-----

NICK:  
You already know my involvement with her started with the 'night howler' thing. And now there's this whole drug thing, whatever that's gonna be.

ASAD:  
The Prosecutor also knows about this drug thing, Mr. Wilde. Did you know that?

\-----

NICK (in full wise-ass mode):  
I know I'm not wearing paw-cuffs and a muzzle. You haven't told me I can have a lawyer if I want, so I'm figuring the Prosecutor won't eat the fruit and then chop down the tree.

\-----

NICK:  
I wouldn't be having a 'job interview' if I was under arrest, and I'd bet you have lots of other stuff on your desk.

\-----

ASAD crosses his arms and frowns.

ASAD:  
You're very confident, Mr. Wilde.

NICK gives the 'am I right?' gesture seen in the first movie @ 00:25.

\-----

ASAD relaxes a bit, uncrossing his arms. NICK folds his hands on the table and leans back a bit, confident.

ASAD:  
All right, wise guy: time for the quiz. Who's the cop who brought you in today?

NICK:  
You called him Wolford.

ASAD:  
What's he wearing?

NICK:  
Blue t-shirt, dark shorts, and his pistol is on his right hip.

\-----

ASAD:  
What was the cougar from the other day wearing during your interview with him?

NICK:  
A light pin-striped polo shirt with a crest or shield on it. Khakis, pistol in the back on the left.

\-----

ASAD:  
What else can you tell me about him?

NICK (counting off on his fingers):  
He speaks like he's from one of the West Britannia provinces, he probably went to college, his cologne is some spicy powdery stuff, he ate fish that day and he's left-pawed.

\-----

ASAD:  
What else do you know about the ZPD?

NICK:  
The smoke alarm in the corner isn't a smoke alarm, it's probably a camera.

ASAD:  
Why would you say that?

NICK (pointing upward):  
Because smoke alarms go in the middle of the ceiling, like the one over my head, and a room this small would need only one.

\-----

ASAD stands up from the table, picking up the clipboard and recorder. NICK'S expression is blank as he watches ASAD.

ASAD:  
We'll get back to you, Mr. Wilde.

\-----

[episode 11 act 2]

EXT. the DUNES, where we left off in episode 10 act 3: The sandstorm has abated. The dune buggies have small drifts of sand behind the wheels. STURGIS and BERGER are pulling their blankets off their shoulders. JUDY is pulling down her goggles.

STURGIS to JUDY (jokingly):  
You two good friends now?

JUDY to STURGIS (without humor):  
Besties forever. 

\-----

STURGIS, his goggles resting above his brow, shakes the sand out of his blanket and begins to fold it. JUDY is leaving BERGER'S lap and moving to her seat.

STURGIS to BERGER:  
Hey Jack, you go over the checklist when you took out your bug?

BERGER:  
We both did.

STURGIS:  
Who was in the motor pool?

\-----

JUDY is back in her seat, folding the blanket as she pays attention to the conversation. BERGER'S eyes narrow in suspicion.

BERGER:  
The Cap'n was, he went through it with us so Judy could learn the drill.

\-----

JUDY is stowing the blanket behind her seat. BERGER regards STURGIS.

BERGER:  
Since you asked, why does your bug have only one blanket?

STURGIS (chastened, shoulders slumped):  
I screwed up and I'll own it.

\-----

BERGER picks up the radio handset.

BERGER:  
At least we're all okay. Z1306 Z1307 calling home, we're good.

RADIO:  
Thanks guys. Hey Sturgis, you left something in the motor pool.

\-----

STURGIS picks up his handset.

STURGIS:  
If I left my butt there, can you ask the Cap to please stomp it flat before I get home?

RADIO:  
*kKft Abnawa here: no such luck for you, Sturgis. Stop the chatter and earn your pay.

\-----

STURGIS hangs up his radio handset.

STURGIS:  
It just wouldn't be a day without ol' Cap reaming me out.

BERGER:  
You know he loves you most.

\-----

JUDY looks to the north past BERGER, her ears tracking.

JUDY:  
Do you hear that?

BERGER gets the binoculars out of the stow in front of JUDY'S legs.

\-----

BERGER is scanning the north through the binoculars.

BERGER:  
Biker, headed to the fence. Let's get him.

\-----

Both buggies are headed north, going high to the top of the dunes. 

JUDY on the radio:  
Z1307 at the wind farm, 10-43 motorbike on the dunes.

RADIO:  
Copy Z1307, be careful on the dunes.

\-----

FROM THE REAR: The buggies are in pursuit, lit up and sirens on. The motorbike is ahead of them, throwing sand as it tears up the dunes. 

STURGIS on bullhorn:  
Don't make us stop you! We got you.

[// on-board bullhorn mounted inside the roll cage, Sturgis is using the radio handset.]

\-----

They pull up to the stopped motorcyclist, a male North American mountain lion wearing no helmet or any other protective gear. STURGIS' buggy is stopped to the bike's left and rear, BERGER'S directly across the path of the bike. The motorcyclist, still on the bike, is angry and puzzled.

\-----

BERGER approaches the biker, hand on holster. JUDY stands up in her seat, at the ready. STURGIS is coming around from his buggy.

BERGER:  
Stop the engine.

BIKER (flatly):  
Is there a problem, officer?

\-----

JUDY has a hand on her holster. STURGIS is coming around with an extended spring baton, his expression calm.

BERGER (shouting):  
I SAID STOP THE ENGINE, I won't say it again. And get off the bike.

BIKER (panicked):  
Kick stands don't work on sand!

\-----

BERGER'S left hand is on the right handlebar over the kill switch; he shuts off the bike.

BERGER (menacingly, teeth slightly bared):  
I said get off.

BIKER (in protest):  
It'll fall over!

BERGER:  
**Get off now**.

\-----

The BIKER dismounts to the left. The bike falls over, topside facing downhill.

BERGER:  
Keep your paws where I can see them.

BIKER (furious):  
What the heck is going on here?!

\-----

STURGIS is at BIKER'S left.

STURGIS:  
Boy, you got a death wish?

BIKER (turning to STURGIS):  
What?

STURGIS:  
No helmet no pads no nothin'. And the dunes just shifted, or did you miss the sandstorm? It's like you want to die out here.

\-----

STURGIS:  
How you get out here? Did you ride out from the road on that thing or you got a truck?

BIKER:  
My truck is up the road about 2 kilometres north.

\-----

STURGIS:  
You didn't see the signs?

BIKER (defensive and angry):  
What signs?

STURGIS:  
'Restricted area official vehicles only.'

BIKER:  
No I didn't!

\-----

STURGIS:  
They're back there, it ain't their fault you didn't see 'em. What'chu doin' out here?

BIKER:  
Just out for a ride, officer. Really, I didn't see any signs!

\-----

STURGIS:  
You're in a restricted area. You ain't out here on business, are you?

BIKER:  
What business?

STURGIS:  
On your knees, man. You can't be out here.

\-----

The BIKER is on his knees, hands on the back of his head. BERGER is behind with his right hand on the BIKER'S head, cuffing him with his left hand. STURGIS is in front of them.

BIKER:  
What is this place, anyway?

STURGIS:  
A restricted place. You carryin' anything?

\-----

EXT. the DUNES, back on the road: BERGER is driving the BIKER'S pickup, the motorbike upright and strapped into the cargo bay. STURGIS' buggy is behind the truck, the BIKER is strapped into the 'tail gunner' seat, cuffed and bagged (his cuffed wrists are in front of him in his lap). JUDY follows STURGIS' buggy, solo.

[// NB: The biker's head is bagged for a few reasons: 1) cats are much easier to handle when they're bagged, 2) ordinary canid / ursid muzzles don't fit on felids, and 3) he's in the desert without goggles or a scarf.]

\-----

INT. ZOO-13 LOBBY: STURGIS and BERGER are marching the BIKER to the front desk, arm in arm on either side. JUDY is next to BERGER. RIVERSTONE is at the front desk.

RIVERSTONE (without looking up):  
What's that?

STURGIS:  
Some fool who can't read, got too close to the fence.

RIVERSTONE:  
Naughty or nice?

BIKER from inside his bag:  
Nice?

\-----

RIVERSTONE:   
I didn't ask you. Sturgis?

STURGIS:  
Nice, just stupid.

\-----

RIVERSTONE begins typing on her computer, focusing her attention entirely on its screen.

RIVERSTONE:  
Give it to Coleman, I'll call First D. Chief's orders are grill anyone who gets too close to the generators.

...And the Captain wants the three of you in his office now.

STURGIS' eyes widen, his mouth is set into a frown.

\-----

INT. ABNAWA'S OFFICE, lateral view: the office is sparse, with a filing cabinet in one corner and two chairs against the wall. ABNAWA'S desk is similarly plain, with only a laptop, a radio console, a notebook and a phone on his desk. His chair has no arm rests. There is a pair of crossed (authentic and weapon-grade) scimitars mounted on a plaque behind his desk; there are no other decorations in the office. 

STURGIS, BERGER and JUDY are standing in front of his desk, lined up in such an angle that they are all visible in this frame. They are all standing 'at ease' with hands crossed behind their backs. STURGIS looks stressed but is nonetheless standing straight and looking ahead. ABNAWA'S hands are folded in front of him on the desk as he regards all three of them.

ABNAWA:  
Hopps, how was your lunch?

JUDY (flatly):  
Cozy, sir. Yours?

\-----

ABNAWA studies JUDY with narrowed eyes, as if examining her.

ABNAWA:  
You appear to be in good form, so I will assume all is well. Berger, how was lunch?

BERGER (visibly smirking):  
Cozy, sir.

\-----

ABNAWA'S eyes are no longer narrowed and suspicious. STURGIS wears an expression of shame, but still stands upright and looks straight ahead.

ABNAWA:  
I think you two work well together. Sturgis, how many blankets were on your vehicle when you took it out?

STURGIS:  
I was lucky I had one and I know I owe you my tail, sir.

\-----

3/4 ANGLE from behind ABNAWA: this frame originates from the front half of ABNAWA'S head and his desk, showing the trio lined up in front of his desk. Behind the trio is the (closed) door to ABNAWA'S office. 

ABNAWA (emotionlessly):  
I won't 'stomp your butt flat' if you know why you deserve it. 

Berger and Hopps, park a cruiser by the train station and walk the inner Oasis. Sturgis, take the outer Oasis and look in on the usual houses of shame. Sign your vehicle checklist or I will have your tail.

\-----

[episode 11 act 3]

INT. an el car on the Z loop between the Olive St junction and Herd St (this portion of the Z loop is above street level, as it goes over the Dunes and the bay inlet): JUDY, in street clothes, is hanging onto a strap. She holds her phone to an ear with her free hand.

JUDY (wearily):  
Hi Nick. Yes, can we do it around 7? Bring something to swim in.

Bring shorts to swim in, they already have a pool. No, I'm just tired.

\-----

[bookmark 11-3-1 this frame]

INT. the pool at Iron City: JUDY, wearing a simple blue one-piece, is in the shallow end, floating on her back just past the 1m marker. Her ears and legs hang down into the water; her face is blank, her eyes closed. NICK, wearing long swim trunks in a loud tiki pattern, is sitting on the edge of the pool, his feet in the water.

NICK:  
I kinda thought we'd be swimming laps or something.

JUDY:  
Go ahead, I won't stop you.

\-----

NICK slowly enters the pool feet first.

NICK:  
Tough day?

JUDY:  
Hot day. I'm not moving a muscle until I soak up the litre I lost out there.

\-----

NICK is standing in the pool a bit behind JUDY'S head, in up to his neck. 

NICK:  
Did you do anything fun today?

JUDY (blank, eyes closed):  
I met my best friend at the gym.

\-----

NICK (with compassion):  
Wow, you really are beat.

JUDY:  
You have no idea, I could fall asleep right here. But tell me about your day.

\-----

  
NICK is standing closer to JUDY.

NICK (almost cheerfully but not really):  
I had my job interview with the ZPD...

JUDY (eyes still closed):  
Oh, was it with Friedkin upstairs?

NICK:  
Remind me, who's the lion behind the skinny tie?

\-----

JUDY'S eyes snap open and track to NICK.

JUDY:  
Detective Asad?

NICK:  
That's gotta be it.

\-----

JUDY:  
I wonder why it was with him.

NICK:  
He didn't so much ask me why I wanted to be a cop, it seemed more like he was testing me to see if I could be a cop.

\-----

NICK:  
He's also interested in our connection.

JUDY:  
So is everyone else. Well, can you be a cop?

\-----

NICK:  
I think so. How's Sahara Square treating you?

JUDY (eyes closed again):  
I could be a cop in Hades if I survive this tour.

\-----

NICK (with sympathy):  
Sounds lovely.

JUDY (eyes still closed):  
Every day is a test, just like Tom said. What's more, my schedule has been switched up so my days off are Monday and Tuesday, which makes today the first day of my rotation. I'm on for nine days straight.

\-----

JUDY shifts upright, her back to NICK as she treads water. NICK'S eyes widen, he puts his arms under hers as if to catch her.

NICK:  
I got you...

JUDY (eyes still closed):  
I'm all right, you don't need to hold me.

\-----

NICK looks down into JUDY'S face as she treads water, his eyes relaxed.

NICK:  
What if I want to?

JUDY (eyes still closed):  
Then hold me, just not here.

\-----

NICK'S eyes widen a bit.

NICK:  
Tell me about the folks you work with.

JUDY (eyes still closed):  
All 'predators,' not that it means anything. The Captain is hard as nails, only he calls it 'love.'

\-----

JUDY:  
Loyalty and discipline, that's what he calls love. Is that a canine thing?

NICK (shrugs):  
I wouldn't know, I'm vulpine. We're a different clade, a totally different way of looking at the world.

\-----

JUDY (eyes tightly shut, a regretful expression):  
Right. I'm sorry, I should know that by now.

NICK (frowning, head turned a bit away from JUDY):  
That's okay. I don't expect you to understand everything about me.

I'm okay with that if you are.

\-----

NICK (less angry, head turned back toward JUDY):  
No 'chase' today?

JUDY (eyes still closed, expression more relaxed):  
Nope. I'm already chased.

\-----

JUDY floats up on her back, as per bookmark 11-3-1 but her eyes are open and she's smiling a bit.

JUDY (eyes toward NICK):  
Heh, 'chased.' Sounded like 'chaste' for a moment.

NICK (confused, head tilt):  
Hm? What did I miss?

JUDY:  
You know, chaste. Abstinent.

\-----

NICK is amused.

NICK:  
{hah} Where did that come from?

JUDY (coy smile, eyes narrowed):  
Never you mind, sir.

\-----

NICK paddles off toward the deep end. 

NICK:  
Uh right. I'm going to swim laps, you can be chased another day.

JUDY (surprised, eyes wide open)  
What?

NICK:  
You know, chased. Pursued.

\-----

NICK swims away. 

JUDY to herself (smiling, but with a furrowed brow):  
If only, if only... if only all this wasn't so complicated.

\-----

[episode 11 act 4]

EXT. the ANVIL: L.E. walks toward the door, noticing Redfern's absence. She looks around...

\-----

INT. the ANVIL: L.E. takes a seat at the bar. The bartender approaches.

L.E. to bartender:  
Where's Red? Is he off today? 

BARTENDER:  
He won't be in, something about work.

\-----

FOCUS TO the interior away from the bar, from L.E.'s perspective from her back: L.E. has turned in her stool to look around the bar, recognizing a Siberian tiger, a musk deer, and a couple of red pandas sitting at a table next to the back door, looking a bit out of place in a Metal club.

[// cross-reference: episode 8 act 1]

\-----

FOCUS BACK to L.E. at the bar:

L.E. to BARTENDER:  
I'll have a ginger ale and bitters, and I'm still covering the tab for that table in the back.

\-----

EXT. the ANVIL: a dozen large male felids approach the door.

FELID1 to others (looking around):  
Häh, no bouncer. Works for us, right?

[// the rendering of felids is at the artist's discretion, within the scope that they are all larger felids, not Asian Snow Leopards, all male, and hooligans such as football thugs, neo-nazis and such.]

\-----

INT. the ANVIL at the door:

FELID2 to others:  
Karl said we're looking for a tan or light brown female rabbit.

FELID3 (pointing toward the bar):  
Like her?

\-----

AT THE BAR: FELID2 stands to L.E.'s left.

BARTENDER to FELID2:  
What can I get you?

FELID2 to L.E.:  
Hey rabbit, where you here last Sunday?

L.E. (without turning around):  
Who's asking?

\-----

The BARTENDER stands his ground with a stern face. 

BARTENDER (assertively):  
This isn't the place to be looking for trouble. You're not here to start any, are you?

FELID2 to BARTENDER:  
This isn't your business. 

L.E. to FELID2 (angry):  
Why are you guys here?!

\-----

FOCUS TO the table in the back: the SIBERIAN TIGER sits alone, sipping a drink. All the others are gone.

\-----

FOCUS BACK to the bar: L.E. is calmly sipping her drink, pulling one foot up and under her on the stool.

FELID2 (menacingly):  
We're here to settle a score, rabbit.

L.E.:  
I don't think I owe you anything.

\-----

FELID2 puts his right hand on L.E.'s left shoulder.

FELID2 to L.E.:  
We're going outside, hasenpfeffer.

[// Hasenpfeffer is rabbit stew, invoking the ugly rumors of the War a century ago.]

\-----

L.E. stands up in her stool, pivoting to grab FELID2's head from the rear and slam it against the edge of the bar.

\-----

FELID2 drops to the floor, unconscious. L.E. hops off her stool and leaps past the other felids, shouting as she heads out the door:

L.E.:  
Let's take this outside!

\-----

EXT. the ANVIL: L.E. pushes open the front door and dashes to her left toward the alley. 

\-----

EXT. the ALLEY next to the Anvil, a dead end with bins and dumpsters against a wall: the MUSK DEER is pushing a broom, the two RED PANDAS are leaning against a wall sharing a bottle of something. The FOCUS is on L.E.'s back as she runs down the alley.

\-----

FOCUS ON the street, lateral view, as the eleven remaining FELIDS turn down the alley. 

\-----

FOCUS TO inside the alley, lateral view, as the FELIDS walk down the alley toward L.E, clearly with menace. The MUSK DEER has his foot on the broom, firmly grasping the broomstick. The RED PANDAS are leaning against the wall, paying close attention. 

FELID3:  
End of the line for you, stew girl.

The rest of the gang holds back to give FELID3 some room. 

\-----

FELID3 winds up and delivers an open-handed right undercut clawing attack with claws fully extended.

\-----

L.E. dodges to the left of FELID3'S attacking hand, grabbing the wrist with her right hand. She steps back into a low, broad stance, reaching up with her left arm as she pulls FELID3'S arm low, unbalancing him and pulling him down.

\-----

L.E. grabs FELID3's neck with her left arm and rides him downward to the ground, where he crashes into the ground mouth-first. FELID3 is down for the count, laid out and very messed-up.

\-----

L.E. notices one of FELID3'S teeth on the ground, a 'canine' tooth, and picks it up. 

[// the primary and usually only fang after the incisors is known in animal anatomy as a 'canine' tooth regardless of species. Surprisingly, some ungulates have them. Notably, rodents and leporids don't have any at all - except in anthro art.]

\-----

L.E. faces the remaining ten felids, holding the found tooth, her head inclined upward to face them.

L.E. (calmly):  
I'm settled with him. I don't owe anyone else anything, do I?

The other felids are only angrier, with clenched fists and hands open with extended claws.

\-----

FOCUS TO the mouth of the alley, facing the SIBERIAN TIGER seen earlier in the bar: he is now standing in the alley, facing the ten felids, whose heads turn around as he speaks. The SIBERIAN TIGER is calm, hands low at his sides.

S-TIGER (assertively):  
Whatever is happening here must stop now.

(VOICE OUT OF FRAME):  
This ain't your business, man.

\-----

LATERAL VIEW of the alley: all rumble, including the MUSK DEER with the broomstick (broom head removed) wielding it as a long staff, the TWO RED PANDAS who are mostly in mid-air with their feet headed toward some FELID'S head, the S-TIGER grappling and throwing FELIDS, and L.E. mid-air, holding the necks of broken wine bottles as weapons. (L.E.'S range is not limited to ground work; she is a very agile hare.) The FELIDS are losing badly, even as they do their best to fight as well as any untrained felid, leaping and slashing, but not with focus, or any success. 

This scene only needs one frame since we all know how it will end.

\-----

INT. the ANVIL: L.E., the S-TIGER, the MUSK DEER and TWO RED PANDAS are standing at the bar. FELID2 is still on the floor where L.E left him earlier, dazed and with a nosebleed, but conscious. L.E. looks at him with a curious expression. The BARTENDER, hands on the bar, looks over the bar at FELID2.

BARTENDER to L.E. (with a look of tired resignation):  
I called him a ride. Should I call for more?

L.E. (calmly, still looking at FELID2):  
Rides for eleven more would be nice, thank you.

\-----

INT. a ZPD PATROL CAR staffed by OFC. REDFERN working an extra shift: REDFERN is picking up the radio handset.

RADIO:  
Z4 vicinity of 11th and Pine: 10-40 at 1102 Pine inside, one injured in need, circumstance unknown.

REDFERN:  
Copy that, Z418 Redfern on the way.

RADIO:  
*kKft Rescue M404 en route to 1102 Pine for one non-ambulatory, status unknown.

\-----

EXT. the ANVIL: REDFERN is looking down the alley at eleven very messed-up large felids, some hanging partly out of dumpsters or slumped upside-down against the walls.

REDFERN on his radio:  
Z418 Redfern 10-23 1102 Pine, we need medical. Eleven injured, repeat eleven injured in the alley next to 1102 Pine, some of them down and out.

RADIO:  
Z418 repeat that, did you say eleven?

\-----

REDFERN walks into the alleyway, looking downward at the injured.

REDFERN on his radio:  
I have eleven injured outside 1102 Pine, we need medical for all of them. 

RADIO:  
*kKft Rescue M4 dispatch here, we now have twelve at that location?

\-----

INT. the Anvil, at the bar: L.E. is seated at the bar with a short cider and empty shot-glass in front of her. She is on her phone, held at a hand's width from her mouth. She is holding the tooth she picked up, looking at it as she speaks.

L.E. on her phone (outwardly very happy and perky):  
Hey kitty! Listen, today would be the best day ever for you to stay the heck away from the Anvil. Don't ask why, all right? The same goes for Eric and that freak Wacki, would you please tell them too? 

I said don't ask. Thanks, you're such a sweetheart. Love ya!

\-----

[/ end episode 11]  
[// 104 frames]

[2021 02 18 wrg]


	14. episode 12: madhouse

**Summary for the Chapter:**

> In the final episode of this series, the author struggles to conclude this whole hecking story at or under budget. :p

**Notes for the Chapter:**

> dramatis personae:  
>   
> Judy  
> ZPD staff:  
>  Riverstone  
>  Ofc. Nadine Mouchet: leopard, female, Zoo-13  
>  Cpt. Abnawa  
>  Chief Bogo  
> Nick  
> 

[episode 12 act 1]  
  
[caption: a Saturday afternoon, some weeks later]

Int. ZOO-13 LOBBY: JUDY and MOUCHET are at the front desk. MOUCHET is holding a notebook and a few pages of printed paper. RIVERSTONE is at the desk, plugged into her workstation as usual. 

RIVERSTONE:  
How's he doing?

MOUCHET (grim):  
He's lucky to be alive.

\-----

RIVERSTONE (without leaning over the desk to regard JUDY directly):  
How was the transfer, Hopps?

JUDY (looking up at RIVERSTONE):  
M101 Airlift picked him up on Canyon Road as reported. They were at General before we got home.

\-----

RIVERSTONE stands and leans over the desk, looking directly at JUDY. 

RIVERSTONE:  
He'd be dead by nightfall if you didn't find him down there. The Canyon floor is no place to be with a leg busted like that.

JUDY (not smiling):  
Oh I know. He's lucky, that's for sure.

\-----

RIVERSTONE returns to her normal position at her workstation.

RIVERSTONE (seated, focusing on the computer):  
Before you two flip to see who writes this up, the Captain wants to see Hopps in his office. 

JUDY (turning to MOUCHET):  
Ah Nadine, could you -?

\-----

MOUCHET to JUDY:  
Don't keep him waiting, I can take care of it.

JUDY (smiling):  
Thanks, you're the best.

\-----

INT. the doorway in ABNAWA'S OFFICE: JUDY stands in the open doorway with a surprised and somewhat dark expression on her face.

JUDY:  
This can't be good if you have a chair out for me.

(VOICE OUT OF FRAME):  
Have a seat, child.

\-----

INT. ABNAWA'S OFFICE, lateral view: JUDY is seated (on a very large hardbound book) in a chair before ABNAWA'S desk, her eyes level with the desk top. ABNAWA is relaxed, hands folded before him on the desk. JUDY'S expression is humble: her hands are in her lap, her back a bit arched as if in anticipation.

ABNAWA:  
Tell me, how do you see yourself here? Do you think you're making a difference?

JUDY (head down, eyes not directly on ABNAWA):  
I try, sir. I suppose I'm making as much of a difference as any cop. I hope I changed at least one person's life today...

\-----

ABNAWA:  
Riverstone's call to rescue sounded serious. I called the Hospital, they will call when he stabilizes one way or the other. 

Let's hope your luck is enough to save him again.

\-----

ABNAWA'S hands are apart, open palm-up on the desk as he looks directly at JUDY.

ABNAWA:  
I have my own thoughts, but I want to hear from you. Please tell me how you think you are doing.

JUDY (a bit less nervous):  
I'm learning, sir. I have good teachers and a very challenging environment.

\-----

JUDY leans back in her chair, hands entirely relaxed. 

JUDY (looking directly at Abnawa):  
The pack is treating me like their own, not a temp on tour. We seem to -

did you call me 'child' when I came in?

\-----

ABNAWA leans back in his chair, hands flat on the desk.

ABNAWA:  
At last, you hear my words. Yes I did. That is how I see you. One would never know you were once a troublesome rogue from the madhouse.

\-----

ABNAWA lowers his head a bit, eyes still tracked directly to JUDY.

ABNAWA:  
You have come a long way; you have grown up and become a cop. I am very proud of you, and I would tell anyone you are our child.

I had to speak with our Chief, and it was with great joy and sadness that I told him what you have become.

\-----

JUDY (sympathetic, head inclined slightly sideways):  
Why sadness?

ABNAWA (eyes lowered to his desk):  
He wants you back in the madhouse for first shift tomorrow. You know where I want you, but we all knew this tour would be brief either way.

\-----

ABNAWA:  
Your siblings on first shift will be at the Brass Rose tonight. You're expected, and I know you won't disappoint them.

JUDY (surprised, an open smile):  
Really? That's awfully nice of them.

\-----

ABNAWA:  
I wish I could be there, but I can't. By the way, your friend Nick is also welcome.

JUDY (resentfully):  
There really aren't any secrets out here, are there.

\-----

ABNAWA leans forward in his chair. His elbows are on the table, his hands clasped. JUDY'S head is tipped down, eyes still on ABNAWA, overall expression somewhat aggrieved.

ABNAWA:  
You know I'm not trying to be rude, don't you? I could never insult you, as much as I love you.

JUDY:  
I believe you, but that was a bit close even for 'family.'

\-----

ABNAWA:  
Then forgive me. I will respect your privacy, but the invitation to your friend stands.

Now go, it's past 16:00.

\-----

JUDY'S expression shows tightly contained mixed emotion.

JUDY (not directly looking at ABNAWA):  
This has all been such a... an experience. Gosh, I'm going to miss this place. 

You're not the type for hugs, are you? I'm going to miss you so much!

\-----

ABNAWA stands, hands flat on the desk.

ABNAWA (eyes narrow, baring his teeth):  
I'm still a Captain, Miss Hopps. Restrain yourself.

JUDY (immediately humble):  
'Sir.

ABNAWA:  
You don't have to be so expressive. Now go, we will meet again.

\-----

JUDY stands up from her chair. Her eyes are wide as she faces ABNAWA.

JUDY:  
Thank you, sir. Thank you for everything.

ABNAWA (looking downward at his desk):  
Thank yourself, child. You did all the work. 

...I said go.

\-----

FOCUS TO the doorway: JUDY is at the door, her head turned back to ABNAWA.

\-----

JUDY leaves the office, closing the door behind her.

\-----

FOCUS TO ABNAWA seated at his desk, 3/4 rotation head-on: his elbows are on the desk, hands up and clasped tightly together. He leans forward, pressing his forehead against his clasped hands, muzzle pointing downward to the desk. His face is in a grimace, lips up and teeth clenched, eyes tightly shut.

ABNAWA (softly):  
{now share your luck with the rest of the city...}

\-----

INT. ZOO-13 locker room: JUDY is sitting on the bench, cleaning out her locker and stuffing it all into a large ZPD gym bag. MOUCHET straddles the bench, hands before her as she leans toward JUDY. MOUCHET is smiling, but with a worried expression.

JUDY:  
Thanks for waiting up, Nadine.

MOUCHET:  
I'm glad you're not cleaning out because you got canned. You know I'm going to miss you, right?

\-----

JUDY packs her sidearm bag last before she zips up the gym bag. She isn't looking directly at MOUCHET.

JUDY (a sad expression):  
I'm going to miss you too. I'm going to miss this whole place, everyone, all of it. Even the hellish climate.

\-----

FOCUS to include the locker room door: JUDY has her bag over her shoulder as she stands at the door. MOUCHET is still straddling the bench. JUDY turns to her.

MOUCHET:  
You know we're all going to miss you, especially that softie Abnawa.

JUDY (surprised):  
Softie? Him?

MOUCHET:  
Oh for sure, you don't even know. He's probably crying his eyes out right now.

\-----

[episode 12 act 2]  
[bookmark 12-2-1: this frame]

INT. JUDY'S APARTMENT, view from the ceiling, downward: JUDY is flat on her bed, arms outstretched as in the first movie 0:13:10 including her head and torso, staring at the ceiling. Her phone is on the bed, face down. Her face shows tension. 

JUDY to herself:  
What am I going to do with him? 

\-----

FOCUS A BIT CLOSER to her face: JUDY'S face shows a bit more stress.

JUDY:  
This is a workplace get-together, we're not dating or anything, and he probably doesn't want to hang out with a bunch of cops. Just one cop seems to be enough for him.

We're friends and that's all we are. This is work.

\-----

FOCUS STILL CLOSER TO HER FACE: JUDY'S face shows a lot of stress: her brow is furrowed, her teeth are clenched.

JUDY:  
This is all becoming very complicated. My life is hard enough without him on my mind.

\-----

FOCUS BACK to JUDY, including her head and torso as above at 12-2-1. JUDY'S eyes turn to her phone as it rings rings: *♫♪♫, ♫♪♫

\-----

JUDY, still lying on her back, is holding the phone directly in front of her face. Her face shows regret.

JUDY:  
{sigh} Nick.

She rejects the call.

\-----

JUDY, holding the phone in both hands in front of her face, narrates as she types:

JUDY:  
Working late. Phone is silent.

\-----

INT. the BRASS ROSE, the room in the back: JUDY is at the wide doorway, parting the beaded curtain with her left hand. She's wearing a loose pale blue t-shirt (not ZPD issue) over a tank top, khaki pants. Her expression is happy.

JUDY:  
Hi!

\-----

ROTATE PERSPECTIVE 180º as seen from behind JUDY as she stands in the doorway: most of the cops from Z13's first shift (including RIVERSTONE, excluding ABNAWA, COLEMAN and LAPAHIE) are standing in the room, most of them turning their heads toward the doorway. They're all in desert casual in loose, light-colored clothing, shirts with short sleeves and low neck lines. Notably, STURGIS is wearing a very loose oversized white t-shirt and long shorts.

BERGER (3/4 view, smiling):  
There you are!

[// the author invokes a stereotype for Sturgis, and does so without regret. This shows both sides of him: a hard-as-nails cop on the job, but still himself - not a 'child of the desert' - on his own time.]

\-----

INT. the party room at the Brass Rose: JUDY and above Zoo-13 personnel are all joyous but behaving very sensibly; it's not a wild party at all. This one frame should suffice.

\-----

INT. an el car on the Z loop bridge between Olive St junction and Herd St: JUDY has a seat next to a window. The train is over the River, vertical bridge struts blur past in the window. She stares absently out the window just above her eyes. It is night, the train's window is semi-reflective like the inside of a one-way window. 

JUDY (THOUGHT):  
What am I going to do with him?

[// Judy is not reflected in the window; her ears are down and the bottom of the window frame is just above her head.]

\-----

EXT. Otterdam, street level, lateral focus, including the houses and streetlamps: JUDY walks home from the train station. Her eyes are downward as if in thought.

\-----

INT. JUDY'S APARTMENT, view from the ceiling as per bookmark 12-2-1: JUDY is flat on her back, still clothed as she was at the party, hands clasped at her waist. She is pensive, stressed, almost upset.

JUDY (THOUGHT):  
What am I going to do with him? What is all this, anyway?

\-----

INT. NICK'S apartment, same perspective as the preceding frame: NICK'S futon is folded out, the room is dark. He is flat on his back, in bed for the night but wide awake. He is staring pensively at the ceiling, hands clasped behind his head.

NICK to himself:  
I am not going to be up all night worrying about her. 

[// refer to the note at bookmark 8-4-1 regarding the plaid of Nick's boxers: it's never the same pattern twice.]

\-----

NICK rolls over on his side, curled up, closing his eyes.

NICK:  
She's working late. I'll see her tomorrow.

\-----

[episode 12 act 2]

[caption: Sunday, back at the madhouse]

INT ZOO-1 BULLPEN: FOCUS ON BOGO at the lectern.

BOGO:  
Lastly, you may have noticed one of our rookies is back in the squad. Most likely you haven't noticed, {who cares...}

Assignments: Fangmeyer and Wolford to continue split patrol in the financial district. Snarlov and Grizzoli, go see Detective Jones. Delgato, you're solo in the park. Hopps to my office. Everyone else, your current assignments.

Questions? Dismissed.

\-----

INT. BOGO'S OFFICE, lateral view, focus on JUDY: JUDY is seated, the top of her head is just visible over his desk.

(VOICE OUT OF FRAME, OPPOSITE JUDY):  
Hopps: how was your tour in Gehenna?

\-----

LATERAL VIEW, including BOGO and more of the office: JUDY is standing in her chair, hands on the edge of BOGO'S desk, looking directly at BOGO.

JUDY:  
Gehenna? Sir, I don't think you sent me there for punishment.

BOGO:  
You were sent there to learn a lesson. Do you think you've learned it? 

\-----

JUDY:  
I think so. I hope you think I did.

BOGO:  
Captain Abnawa says you have. What is that lesson, Hopps?

\-----

BOGO leans toward JUDY, his hands flat on the desk. JUDY is seated again, head inclined downward.

JUDY:  
Being a cop takes more than good intentions?

BOGO:  
A lot more than good intentions. Don't you know I would have fired you long ago if I didn't think you had potential?

\-----

JUDY:  
Yes sir I do. Captain Abnawa would have done the same if he didn't have faith in me.

BOGO (darkly):  
Oh he would have done much worse than fire you.

\-----

JUDY looks up at BOGO.

JUDY:  
Sir, you call Sahara Square 'Gehenna?'

BOGO:  
Yes, and I know full well that Captain Abnawa calls this place a madhouse. I don't disagree with him on that.

\-----

BOGO:  
I know plenty see this city as some sort of Paradise, but I see it for what is and so should you by now. That's why we need sanity at least within our Department. 

Now go find Delgato. And remember, I have no patience for difficult people. Don't screw up again.

\-----

[episode 12 act 3]

INT. JUDY'S APARTMENT: JUDY is seated at the table, looking down at a takeout salad container (small garden salad no olives no onions etc) with absolutely no appetite. Her elbows are on the table, her head is inclined against her left hand.

\-----

Her phone receives a message: *♫! JUDY picks up her phone.

JUDY:  
I can't just disappear on him. I have to say something.

\-----

SPLIT SCREEN between NICK and JUDY on their phones, both holding their phones to (or close to) their ears: JUDY'S expression is not one of enthusiasm.

JUDY:  
Hi Nick. Ah, I'm going for a run - by myself. Can we skip our workout tonight?

NICK (concerned):  
Sure, is something wrong?

\-----

JUDY (glancing aside, embarrassed):  
Yeah, ah... things are getting difficult around here.

NICK (disappointed):  
It's okay. You're off tomorrow, right?

\-----

JUDY (with a pained expression):  
Ah... maybe we should meet up tonight. I need to see you.

NICK (anxious):  
Where and when?

\-----

SINGLE FRAME:

JUDY (heavily):  
In the park. No chase, just find me.

\-----

EXT. UPTOWN PARK, wooded area, approaching sunset: JUDY, wearing shorts and a light tank top, is sitting with her back to a tree, knees up to her chest, arms around her knees. She's looking outward at nothing at all, her mind elsewhere. 

\-----

NICK enters on all fours, following his nose.

NICK (half-smiling):  
Gotcha.

JUDY gently touches his nose with an extended finger.

JUDY (without smiling):  
Dinner is on me.

\-----

NICK sits as would a 'feral' canid, facing JUDY.

NICK (disappointed):  
It wasn't even a chase. I guess I know you too well?

JUDY just stares at him, blankly.

\-----

NICK:  
Wanna tell me what's eating you?

JUDY (still staring outward at nothing):  
I suppose I should... Everything is getting complicated and I don't know what to do.

\-----

JUDY turns away from NICK, a heavy-hearted expression on her face.

NICK (head and eyes inclined downward):  
Is it work?

JUDY:  
No that's the easiest thing I'm doing right now. We're complicated, Nick.

NICK:  
I've been waiting for you to say that.

\-----

NICK sits next to JUDY, his back against the tree, knees up, head turned to her. JUDY puts her head down on her knees.

JUDY:  
And I can't talk about this with anyone: not my sister, not my parents, not anyone I usually ask for advice.

It feels like I have to get through all of this alone.

\-----

NICK leans toward JUDY.

NICK:  
You're not alone. I'm in this too, right?

JUDY:  
Yes I suppose you are. 

NICK:  
So it's ours. Who wants to start?

\-----

JUDY stares directly forward into the distance. 

JUDY:  
I want a simple life. That's a capital S 'Simple,' if you know what I mean. For me, being a cop is Simple. It's hard, but it's not stressful.

It's people that are stressful. We're stressful.

\-----

NICK (earnestly):  
We're all a million years too late for life to be simple.

JUDY turns sharply to NICK.

JUDY:  
What's that supposed to mean?

\-----

NICK:  
Life was really simple back then. Nobody had any hang-ups or heavy questions or anything like that. 

Life wasn't easy, or very long, but at least it was simple.

\-----

JUDY:  
I know; now we have to find Simplicity and still be Honest. But us, our whatever-this-is, is full of **Complication**.

NICK:  
Why? What's so complicated about being friends?

\-----

JUDY leans into NICK a bit, her expression shows sadness.

JUDY:  
C'mon Nick, you know we're headed the wrong way.

NICK (upset and suspicious):  
Oh, is it still because we're 'predator and prey?' I thought you saw past that. Don't you believe in me by now?

\-----

JUDY (agitated):  
Of course I do! That doesn't change that we're both making our lives harder than they have to be!

NICK (impatient):  
How, by being friends? What could be easier than that?

\-----

JUDY (stressed):  
We're both coming on to each other! It's no longer just flirting. Sometimes it feels right, sometimes it feels just so wrong.

We have so much in common and we should 'fit' together, know what I mean? But sometimes it's like... ah, I don't even know how to say it.

\-----

NICK:  
Like a tapered #8-24 screw and an M4 nut? They look like they should work together, right?

JUDY (twiddling her fingers, eyes rolled up as she tries to imagine that):  
...ah, maybe? I was naïve when I thought opposites could attract, but I think that only works for magnets.

\-----

NICK looks intently at JUDY.

NICK:  
You really aren't very patient, are you.

JUDY (surprised):  
{hm?}

\-----

NICK looks straight out.

NICK:  
That's what I think. 

Everything doesn't have to happen right away at full throttle, you know. Life isn't always a chase.

\-----

NICK (still staring outward):  
Tell me how long it takes to make cole slaw.

JUDY (eyes rolled up in thought, but without difficulty):  
Oh I can make a batch in about fifteen minutes.

NICK:  
Tell me how long does it take to make a cabbage.

\-----

JUDY'S eyes widen in sudden realization.

JUDY:  
A lot more than fifteen minutes.

NICK smiles.

\-----

JUDY leans her head against NICK'S shoulder, gazing outward into the distance with NICK.

JUDY:  
You make it so easy, Nick.

NICK:  
Some things are easier if you're not running after them.

\-----

JUDY leans into NICK'S chest, her eyes closed. NICK puts an arm around her. Both have expressions of contentment.

JUDY:  
This much is fine. This works for me right now.

NICK:  
Works for me too. 

\-----

INT. a salad bar in uptown: NICK and JUDY are seated at a table. Both of them have fruit salads and drinks.

NICK:  
So explain this about rabbits: this place has six flavors of iced tea but only cola and diet cola?

JUDY:  
Yeah, tea. It's a big deal, it's like our other religion.

\-----

JUDY points toward NICK'S dish.

JUDY:  
Since we went there, I've noticed you don't eat fish.

NICK:  
We're not obligate carnivores; most 'predators' aren't.

\-----

JUDY looks at her dish. 

JUDY:  
We didn't cover a lot of that in school. 

NICK nods. 

NICK:  
But you are good at math.

JUDY:  
Oh that comes naturally.

\-----

NICK:  
I'm allergic to fish, so I watch what I eat. Tonight it's fruit. What all did you get?

JUDY (still looking toward her dish):  
Same here: apples, cherries, pears and blueberries.

\-----

NICK inclines his head, a small smile on his face. JUDY looks directly at NICK with the same smile.

NICK:  
You almost make it sound like poetry without even trying.

JUDY:  
Then you be a bard if it isn't so hard.

\-----

NICK looks down at his dish, one hand extended as if with a performer's narrative flourish.

NICK:  
Uh, 'mangoes, oranges, bananas and -'

\-----

NICK'S eyes widen, he stops dead when he realizes that nothing rhymes with 'oranges.' 

\-----

He looks up at JUDY with a foolish expression. JUDY has her chin in her palm, smiling with narrowed eyes.

\-----

They both smile widely, giggling.

\-----

EXT. the Z-LINE'S PACK ST. STATION, surface: NICK and JUDY are walking away from the station, toward NICK'S apartment. It is night, very few people are on the street. 

NICK:  
What's the rest of the week look like?

JUDY:  
I'm off for two days. I'm meeting my parents and Violet at the train station tomorrow.

\-----

They are at NICK'S APARTMENT building, going up the stairs.

JUDY:  
I'll probably be with them all day.

NICK:  
I remember the day we went to the gym to dodge your family.

\-----

They are inside the building, in the lobby. NICK is at his mailbox, opening it.

JUDY:  
You know why I did that. My parents are world-class worriers.

NICK:  
Mmhm, they're not worried now?

\-----

NICK is holding a few envelopes, looking at them. 

JUDY (smiling):  
I think they have less to worry about.

NICK:  
How about you?

JUDY:  
Me too.

\-----

JUDY takes NICK'S hand (the one that isn't holding mail) and clasps it with both her hands.

JUDY:  
You really are the best, Nick. I couldn't be in this city without you.

NICK:  
Promise me the day after tomorrow?

JUDY:  
You're on. We can go back to me being chased on Wednesday.

\-----

They both look down and smile widely, giggling.

\-----

NICK (gently):  
Okay we have to call it a night. I have some reading to do.

JUDY (somewhat deflated):  
Yeah, I should get some rest.

\-----

JUDY steps back half a step, releasing NICK'S hands. NICK steps back a half step.

JUDY:  
Good night, Nick.

NICK:  
Sleep tight, Judy.

\-----

They each extend an arm, touching index fingers tip-to-tip. (JUDY is reaching upward and standing on tip-toe to accomplish this.) They both smile.

\-----

EXT. NICK'S APT. BUILDING: JUDY is walking down the stairs, smiling with contentment. 

\-----

INT. NICK'S APARTMENT: NICK is sitting on the couch, going through his mail. 

NICK to himself:  
500 Crown Plaza?

\-----

FOCUS TO a letter in NICK'S hand: it's on ZPD letterhead with the logo and headers at the top of the page. The following text in fixed-pitch serif is visible around his hand:

> Nicholas P. Wilde  
> 1955 Cypress Grove Ln  
>  apt 1-C  
> Zootopia UPD Z91 521  
>   
> Dear Mr. Wilde:

[// 'UPD' is United Provinces of Disney. The postal code is Z + 91521, the ZIP code for Disney studios in Burbank.]

\-----

FOCUS TO NICK sitting on the couch: NICK is reading the letter with narrow eyes.

NICK:  
'It is with commendation, and some reservation, that I offer you admission to the Zootopia Police Department's Police Academy Officer Training Program...'

\-----

NICK continues to read.

NICK:  
'Training will begin...' yadda da da, huh so that's Bogo's given name. 

'With some reservation.' This can't be a form letter.

\-----

NICK holds the letter at arms' length, staring at it with eyes wide.

NICK:  
They accepted me.

\-----

[/ end episode 12]  
[// 99 frames]  
[/ end series part 1: So You Want to Be a Cop]  
[// 1198 frames]


End file.
